Quotes About Artistry

So many directors say nothing beautifully, and so many others say great and profound things but have no idea how to read a light meter or arrange a shot.

Mozart's seeming frothiness is just a light touch with very profound material. That's what I've found working on 'The Magic Flute.'

I felt it was part of the spirit of the whole program to do more than simply make an object.

One thing about writing 'The Sarah Silverman Program' was the concern that I don't give myself the best story, you know what I mean?

The way it works: The orchestra plays a few selections of its own and I terminate the first part of the programme on piano, usually with a movement from a Mozart concerto.

I will not programme generic orchestrations but try to find original ones - when I play Richard Rodgers songs, for example, I have Peggy Lee's original orchestrations that I got from her granddaughter for them.

Synthesizers can be programmed with more imagination than a real, 'human' performance. It's a joyful thing.

I really don't chase songs. I get in the studio, I know what I gotta do; I'm pretty much programmed to do it.

Programmers are very creative people. And animators are problem solvers, just as programmers are.

And after I compose my programs, but it is very easy because I look to the music in a very natural way without fuss, and so I look always music, in my home, like books and books and books, choose books and you read the pages, so I do this with music, and I make programs.

There is people who make stuff with words. There is people who make stuff with programs. And I really believe that that whole creative culture, people didn't realize how creative programming is. And anybody who's done it of course knows that not only is it creative, but it's incredibly absorbing.

Some machine-y music is great, but you can apply any groove to any song now - there's literally a massive drop-down menu on most programs. And that's what takes the human being out of the process.

The way to judge a new artist is by listening to their albums and gauging the progress that they make from the first record to the next one.

Gamma was a logical progression after doing the Open Fire record.

I'm going to keep evolving and evolving and showing people that progression is key when it comes to music.

Progressive rock was happening.

Artists are, I think in general, compassionate people, and part of what makes us artists is that we're open-minded people, and I think we're almost, by definition, progressive in a lot of ways.

Every project has to stand on its own. It's a different identity within each project, and I feel like that's the way it should be.

Percussion is the most adaptable family of instruments. The biggest challenge is to project percussion in a lyrical way.

Just doing a project because it's an opportunity won't create meaning. As an artist, I need something to communicate.

When you work for long, you know things about your craft, but how differently you are going to project it so that it can still look new is what I am constantly trying.

You know, I don't really do that much looking inside me when I'm working on a project. Whatever I am becomes what that film is. But I change; you change.

I always listen to a lot of different music when I am working on a project.

With classical singing you have to put out so much air - you project, you emit force.