Best 926 quotes in «musical quotes» category

it's important as a composer to sit in silence and imagine these complex musical worlds in your head, but it's also a wonderful experience to touch your music and to hear it and hear it in the room with you and to say, you can't have an entire orchestra there, but you'd kind of like to have the orchestra there.

It's kind of like being a writer in the sense that you always hear other writers say, 'Well, the best way to start writing is to just start writing.' The same goes for improvisation. You want to start improvising, just start playing notes. And the more you do that, the more comfortable - or not comfortable - but I guess how you're able to adapt to situations. You become more familiar with your instrument. As soon as you have a musical thought, you can go ahead and add to that musical thought and know your way around.

It's nice to stay up nights worrying about the material, and not about the investors who gave you $10 million to do your musical.

It's quite funny that, 20 years ago, one would have thought putting out a fragrance would [negatively] affect your musical credibility. Now it may enhance it.

It's quite clear if you look at the actors in film right now, some of them came from theater but they didn't come from musical theater. There's still a bit of a stigma attached to it I would say.

It's the opposite of that. Engineers in lab coats have created a musical experience that is so crisp and clean, it can literally improve your hearing.

It's very important for an audience to know where they are and why they are there in a musical. It allows them to relax and follow this form that operates in shorthand. So the economy of the form, in many respects, is why a lot of screenwriting is so sleek. Because the visuals are where the explosions happen.

It was about working with other musicians, but more than that it's about exploring musical areas that you could never do with the band you're in, in my case Judas Priest. You could tackle musical areas and lyrical areas that wouldn't be appropriate for Priest.

It was an amazing adventure, it was my dream to be in an American musical... I really hope you are going to love what you are going to see.

It was only after Pather Panchali had some success at home that I decided to do a second part. But I didn't want to do the same kind of film again, so I made a musical.

It was you that led me to the musical that's everything to me. You held my hands so that I can enter the world that I could only watch. When I fell, you helped me stand up. When the path was closed, you opened it up. You're that kind of person to me.

I've always loved musical theater. It's a bit of a family tradition.

I used to do puppet theatre and also mime and musical theatre in Florida for competitions and festivals, which was great. I was very much involved in theatre when I was in college.

I've always been more visual-based. I've kept my musical tendencies kind of in the closet.

I've always been singing. Since day one. I started doing musical theater and you have to sing in musical theater and so that's where I got most of my training. So singing on stage, you just inevitably, when you're around other vocal artists, you get better at singing.

I've always loved musical theatre. I've always been a big kind of closeted musical theatre nerd. I really have always dreamed about being able to do musical theatre.

I've always loved that film ['The Three Caballeros'], and we were looking for a way to apply it to our own work, and 'Trolls' was it - psychedelic, musical and kinetic insanity.

I've always thought that I'm not really a guitar player, but I just practised so much that I developed into a kind of a bit of a musician, but I've often doubted my musical ear. If someone sings me a melody, I have to improvise on that melody, because I can't retain the information they've given me. That's why I still practise today, I suppose, because I still feel inadequate.

I've been a full-time composer for many years, and I'm still learning all the time. There is always more than one musical "solution" to each movie scene, but my goal is to compose music that works perfectly for the director, and me!

I've been given a gift [musical talent] - don't misuse it. I spent a lot of time just wasting that talent, not treasuring it, not valuing it, not respecting it, just taking it for granted. That was a hard lesson to learn. It doesn't come for free. Don't do that. Treasure it, respect it, treat it as a responsibility that you've been given, and enjoy the hell out of it.

I understand that everyone around the world has the global economy crisis and the budgets on education are being cut and the first thing to go are the musical or arts programs and I definitely have to disagree with that.

I've always been inspired by artists who have shown musical and intellectual curiosity and the courage to take risks.

I've always had a problem within myself of feeling that people didn't really see me as a musician and I'm out to get a bit of musical credibility.

I've been reading scripts where they've been doing a lot of singing now, but within the dark, realistic story line. I would love, love, love, love to do that. But not a musical on Broadway, I don't have that kind of energy or stamina.

I've been playing music all my life. I wasn't really fostered in a musical family, it was something I did despite the kind of limitations put on me. It was a series of misshapes and failures and things that didn't work out and other opportunities that kind of presented themselves. I just followed a journey.

I've created several musical trends, really. That's not because I'm so far out and fabulous. It's because most bands have no ideas of their own. They're so desperate they'll grab at any old straw.

I've come to realize that life is not a musical comedy, it's a Greek tragedy.

I've been in contact with music since I was four or five years old through my father, because of the interest he had in music and all his musical skills. I finally managed to make that my profession.

I've done quite a few records now, and I look back and think of them as documents of my musical journey.

I've dreamt of being in a movie musical for a long time. For some reason I never even thought 'Les Mis' would be possible.

I've got a lot of energy at my shows, I'm very performative; that gave me the idea, I want to try to translate that into a musical project, having the same energy I have onstage and on my album.

I've found that musical theater is my passion.

I've learned that in the theater the story is everything. Every lyric, every line and every musical gesture has to propel the journey of a given character or the overall plot.

I've got so many musical personalities, I could probably get treatment for it.

I've made three musical movies which is pretty good considering that not many are made but I was lucky in other ways. I came along when independent movies were starting to boom.

I've sung my whole life. I did a lot of musical theater growing up, I sing in the shower, sing in the car, sing everywhere really, on set at Chuck, all the time. I like it, and I've always felt like I've had a knack for it, or a talent for it, on some level, I don't know.

I've never considered musical equipment very sacred.

I've never had any feeling of disconnection between the classical theater, or the contemporary theater, or musical theater, or the thing that we call opera.

I wanted to be a painter and an artist. And it's interesting that in some of my later musical works, I refer so often and associate myself with works of art.

I want as many people to see the show [Hamilton] in its musical theater form as possible before it's translated, and whether it's a good act of translation or a bad act of translation, it's a leap, and very few stage shows manage the leap successfully.

I wanted to be a musical theatre actress - I wanted to play Sally Bowles, forever and ever always.

I wanted to be a veterinarian until I saw a video of a vet performing surgery on a dog. Then I decided I wanted to be a pianist.

I wanted to lift the aspects of the lyrics and imagery that I found sincerely powerful and touching, plus the amazing musical extremities, and make my own thing. That's what making music has always been for me. Synthesizing a nonexistent kind of music that I wish existed because I wanted to listen to it.

I wanted to make a more Romanesque film that told a story over a long period of time - this one spans 45 years. I had a great desire to make another musical, but this time I wanted to be more ambitious.

I wanted to create an album that spoke all the musical languages I loved.

I wanted to be an actor because I wanted to be onstage. I wanted to do musical theater, and from that I realized I was interested in plays. I never imagined myself on television. I was so lucky to be onstage my whole life.

I wanted to pay tribute to my musical influences: Buffalo Springfield, Lightfoot, the Beatles, the Hollies.

I want to do a big Broadway musical, at some point. I would love to do that. To do something there would be super-cool.

I want to do a musical so bad. I don't care what it is. I'm not picky. I just want to do a musical. I'm shameless, but it's true.

I want to change things with everything I do, not for the sake of changing things, but for the sake of taking greater and greater risks, or how minimalist I might be able to be, or how I can involve elements or ingredients in music videos that are not musical, for instance.