Quotes About Interpretation

Normally, I don't like explaining songs. I don't want to kill anyone's interpretation or the story they want to make for themselves.

Our songs aren't metaphorical, normally: they're literal in their interpretation.

You normally either get bitten by a character and decide that is the way to play it, and then that begins to inform everything you do, or you decide, 'I don't need to use much character in this - I have basically got to be me'.

Normally the amount of music we have is what you hear on the album and that's it.

It's not fair to tell an artiste what to be creative about.

Acting isn't always about the amount of talent you have, or your ability to cry on command. The point is, how well can you take direction? How well can you put aside your own ideas or ego and listen to the ideas of the director and the people above you, while not giving up the passion and drive of that character?

Comments like 'he's not committed' or 'he's not good enough' appear as soon as you are not 110 per cent. I find it quite annoying how people read into stuff and form their own opinions.

You're lacking a human dimension of some sort if you're not interested in the arts.

The last thing I want to do is to write about real things. I am not interested in reality and in real human beings and their real day-to-day problems - I just want to say to them, 'Hold still, and I'm just going to unpack, see what's inside.'

I'm not interested in breaking news. I'm interested in telling the story of what's going on and then trying to figure it out.

I am not interested in telling you what to think. My job is to show you what I think. Period.

What I don't like so much is to give explanations about people's behaviour... I'm not interested in making conclusions. I would never think about myself or anyone else, 'Well, this happened, this happened, this happened, so this must be the result.' It doesn't work like that with me.

I'm not interested in how well someone can sing. It's what you're singing that interests me.

When you're in a play, 50 percent is the genius of the actor, 50 percent is the genius of the author. When a mime is not perfect, you see nothing.

When actors are talking, they are servants of the dramatist. It is what they can show the audience when they are not talking that reveals the fine actor.

There is a world of difference between a Mahler eighth note and a normal eighth note.

Let us note that art - even on an abstract level - has never been confined to 'idea'; art has always been the 'realized' expression of equilibrium.

You try to work with the director and your fellow actors to get somewhere, but other people are the judge of whether you hit that note right.

I don't think I could ever be in a band if we just had to go out there and play the record note for note. I'd give up. I'd become a banker.

I don't think I handle the notes much differently from other pianists. But the pauses between the notes - ah, there is where the artistry lies!!

You have to open the music, so to speak, and see what's behind the notes because the notes are the same whether it is the music of Bach or someone else.

I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.

Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.

I try to convey the musical notes through dance, take on the music.