You want to say as little as you can and get the most punch out of it, always with the knowledge that people are not in the theater to listen to your music so much as to respond to the movie. You're a part of that experience.
Thomas NewmanRead
The fun for me musically is that you never quite know what works and why. So why pretend you do? Why not just put things together and discover, in the creative process, if and why they work? That approach has served me well.
Interpretation
Creativity often involves experimentation and discovery rather than strict adherence to rules.
This quote by Thomas Newman emphasizes the unpredictable nature of creativity in music. It suggests that instead of trying to force an understanding of what works and what doesn't, artists should embrace the process of exploration and experimentation, allowing new ideas and combinations to emerge naturally, which can lead to innovative and surprising results.
In practice
In a speech about artistic innovation, one could use this quote to inspire musicians to embrace experimentation.
You want to say as little as you can and get the most punch out of it, always with the knowledge that people are not in the theater to listen to your music so much as to respond to the movie. You're a part of that experience.
Music is one of the last elements in the creative process. It can and hopefully should tie a bow around an artistic concept, how a story moves forward, the pace of that storytelling.
I have a sweet tooth for song and music. This is my Polish sin.
There is anxiety, but it comes after you've finished filming because it's out of your hands; people are editing it, they're cutting it, marketing it. And it's... part your career sort of rides on that. But when you're actually filming it's a team thing and it really feels good there for me.
The ambivalence of writing is such that it can be considered both an act and an interpretive process that follows after an act with which it cannot coincide. As such, it both affirms and denies its own nature.
Acting is all about relating to the people on stage with you, even in plays that break the fourth wall. Clowning, for the most part, is the opposite. If somebody in the audience sneezes, I can count on it: I don't even have to look at Shiner; he'll have his handkerchief out. It's all about all of us in the room together.
I'm one of the culprits who keeps turning stuff around, shaking up original tunes and trying to stand the canon on its ear. But sometimes, you just need to sing the song.
Searching for music is like searching for God. They're very similar. There's an effort to reclaim the unmentionable, the unsayable, the unseeable, the unspeakable, all those things, comes into being a composer and to writing music and to searching for notes and pieces of musical information that don't exist.
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