Quotes About Interpretation

My first CD started as a studio project and I record everything with one other guy, so I didn't have a band. That's kind of how I like to do it, though. I like to create it with one other person, this guy, Tommy English, who produces everything. And then I go out on the road with a band who interprets it live.

One should take writers' valuations of their own work with a pinch of salt: they are likely to rank them differently tomorrow.

I take what I see work. I'm a strict believer in the scientific principle of believing nothing, only taking the best evidence available at the present time, interpreting it as best you can, and leaving your mind open to the fact that new evidence will appear tomorrow.

If people read 'Tomorrow' and feel that it is offering them some view of my own household, they would be very, very wrong.

A little inaccuracy sometimes saves a ton of explanation.

It doesn't matter who's directing, or who's doing the movie; there are a ton of things that can go wrong, and they do all the time. So you just have to figure out how to get through it, and then how the director finally puts it together, and then see what the audience takes from it. That's the most important thing to me.

I don't like when actors go around and talk a ton about how they approach their roles, because it's a little like pulling the curtain back on Oz, for me.

In Tim's films, more than most, if you miss the tone, you don't get the film.

The actors are the greatest executors of tone in a film. They're the most important cinematic component.

A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. Following up its logic in order to check its accuracy, you find confirmation or denial in the object itself or in your memory of it.

I've just got to remind myself that it's hard to express tone and sarcasm and stuff through text.

Tone can be as important as text.

Actually, I think the average voice is like 70 percent tone and 30 percent noise. My voice is 95 percent noise.

When you are reacting to a good actor, your reactions become better. You get to know what to tone down and how to make yourself believe in those characters.

You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.

With comedy especially, it feels like such a clear-cut thing to be a writer-director. There is so much nuance and tone in a comedy that it's hard to contextualise it in a script.

When you read a book, you create that tonal bandwidth. You set a tone for yourself, as you're reading it, in which everything exists within the world of your imagination.

Tone matters more than words.

In teaching color, you teach people how to look something and see the tone in it and break it down to be able to paint it and reproduce that color. But then, I'm psychedelic, so I look at color differently. I like colors that are in contrast with one another, so that they flicker back and forth.

For me, everything about the telling is guided by tone. It's a bit mysterious; it's either there, or it isn't.

There are situations when, in your singing, in your interpretation of songs, for instance, when you want a straight tone. And I have to work really hard at getting a straight tone... That's sort of like if you have curly hair, you have curly hair.

Even the most meticulous historians work subjectively. The historian's point of view, his or her selection of subject and sources, the emphasis, the tone - all of these lead to subjective history, inevitably so. I do not say this as a criticism, merely as an observation.

At the end of the day, you, as the player, create the tone coming out of the amp. The gear is part of it but by no means all of it.

It's really the tone that people use to convey things sometimes that can either become a compliment or an insult. It's not always what you are saying, it's about how you say it.