My parents had this incredibly vital relationship with an audience, like muscle with blood. This was the main competition I had for my parents' attention: an audience.
I like the old-school muscle cars.
Sometimes things get too layered and compressed or there's too many effects and they turn into mush on record. I strive to keep it raw and live-sounding, like you are in the room watching the band play.
Kids are now eating things like edamame and sushi. I didn't know what shiitake mushrooms were when I was 10 - most kids today do.
When I was to come to Washington the first time as Music Director of the Boston Symphony, Mrs. Johnson phoned us to find out if they could give us a party and who we would like to meet.
We music fans go to shows for transcendence; it's like being called to prayer.
I'd just like to be remembered as a huge music lover.
I was just a music lover who wondered what it would sound like if Otis Redding strapped on a guitar and played in a punk band. That's it.
When I do music videos, I like to do a take, then see how it looks, so I can correct it.
I don't think any artist has really relied on music videos the way I do. It's almost like my radio.
I've noticed that a lot of people in film always seem interested in music videos, like it's some, like, really exciting thing they've always wanted to do or something.
I want to write, direct, produce, but in steps. I want to take steps. I don't want to just jump in because I sold a lot of records and just feel like I can jump into the movie world. Naw, I want to learn the movie world like I learned the music world.
Harpo Marx looks like a musical comedy.
Now, with the success of musical comedy like the Mighty Boosh, Flight of the Conchords and Bo Burnham, I feel vindicated.
I think people like musicals. And when done with a modern comedic sensibility, musical comedy can be the most efficient delivery of both storytelling and jokes.
What gets people into trouble with records now is that they want to build something up without substantial musical ideas. Without that as a foundation, you can add all the layers of sound you want - it's still going to sound like a mess.
I did quite a lot of the arranging, fitting different sections together, tempo changes, all sorts of things like that. I actually acted as a bridge between Robert and Ian. Not so much composing, rather presenting musical ideas at each rehearsal.
How I shall miss Alan Rickman, his beautiful command of English, and a voice he played like a musical instrument.
The big thing in my family growing up is that everybody had to play a musical instrument. We were like the von Trapps.
I like to work my camera as if it were a musical instrument.
