Quotes About Artistry

'Deacon Blues' was special for me. It's the only time I remember mixing a record all day and, when the mix was done, feeling like I wanted to hear it over and over again. It was the comprehensive sound of the thing: the song itself, its character, the way the instruments sounded, and the way Tom Scott's tight horn arrangement fit in.

No matter what, I can't sound like John Lennon. But I can do Tom Jones.

You kind of have to become a song so to speak and we wanted to make sure that Tom did them with the best abilities he had and captured all that what the song is all about.

Karl Lagerfeld and Tom Ford are both geniuses.

I listen to a lot of choral stuff at home, but I'm also liking Labrinth, Emeli Sande, Tom Odell and Wretch 32.

My favorite record of all time is Tom Petty's 'Wildflowers.' I hold it as the standard - in terms of sonics, sequencing, and songs. It shows that making a complete record is important, rather than just making a single.

Tom Kitt aside - he's in his own category with me, of course - Stephen Sondheim is one of my all-time favorite composers.

The process of finding my voice as SpongeBob was to start by watching what Tom Kenny did, trying to do an impression of sorts, and then forgetting all about it and letting the voice become a second-nature thing.

Tom Rowlands does not rush a record.

Bjork for sure. Definitely, I would like to do like something with Tommy Genesis, too. There's a lot of people actually.

The 'Artful Tommy' will never change - and perhaps shouldn't.

I've always been kind of a - you know, I have my moments, where I can be Tommy, and then I flip a switch; when you're on stage, you turn into this other personality.

Writing is not work. In fact, there's nothing better. Writing is something that if the music business went completely away tomorrow - radio stations quit existing and music quit being popular and it was old hat - I would still write songs.

The mission of the A.R.T. is to expand the boundaries of theater through works of the canon and the new works of tomorrow.

If I got dropped tomorrow or every single I released from now on tanked, I'd be devastated, but I'd also still be doing this. I'd still be writing songs. I'd still be recording them. I was doing that for four years in Nashville. This is just on a larger stage.

I never thought of myself as being a good songwriter. There are a ton of other people that are good songwriters, but I don't think I'm in the club. What I do well is perform, sometimes sing pretty good, and accompany myself well and arrange fairly well.

I'm not going to say I know a ton about what I'm looking at, but I enjoy capturing the photos and the artistry of it. I'm getting better at it, and I'll keep getting better.

There's always a ton of emotion coming from me, so I'm really excited to share it.

I always try to find things worth saying, things that are supposed to be said instead of being contrived. I do a ton of writing.

The way that I write is I just write a ton of music in the background of my life, and then I just bring it into rehearsal. It's, like, 'Okay, guys. It goes like this. Let's smooth it out.'

I went pretty much for one tone, and I knew at that time that I wanted to play a Rickenbacker.

Robert Ludlum, all of them, write the absolute best they can. You can't tone it down. You just do what you do, and if it comes out literary, so be it.

As an actor and a writer, the anxiety about doing TV is that you start to feel like you get married to one tone or one kind of idea and you feel like you want to be able to express a lot of different things.

My voice sucks. I don't like the tone.