I want the score to have a really big voice.

You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time.

I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

One of the things I love about cinema is the range.

Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.

Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success.

I like to work my camera as if it were a musical instrument.

There's a sadness to the human condition that I think music is good for. It gives a counterpoint to the visual beauty, and adds depth to pictures that they wouldn't have if the music wasn't there.

In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.

I'm a huge fan of world cinema, because each country uses cinema in a very individual way.

It's difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy.

You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.

Films take up so much time, and with theatre, you do have to plan a period of time that you can be free.

I've held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on.

There's nothing I've done which I'm ashamed of or I thought was actually bad.

The world is an infinitely fascinating, tragic and humorous place.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

I've spent my life hearing people trying to apologize for music.

I want the score to have a really big voice.

The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.

In a way, the history of jazz's development is a small mirror of classical music's development through the centuries. Now jazz is a living form of original music, while classical music has gotten to the end of its cycle in terms of exploring its form.

I might have a guitar or a piano on set to play something for the actors.

Then I became interested in drama, and almost by accident, I drifted into film.

I had no plans to be a director.

But I don't have such a strong desire to need to get away from filmmaking.

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

I am intrigued enough to want to continue, and also to try and work with companies like Sony on modifying the cameras and making them more user-friendly and efficient.

I play piano and trumpet. I studied classical guitar.

My favorite singer to this day is Nat King Cole. I've tried to emulate his phrasing. It is so absolutely beautiful to listen to his lovely voice.

I grew up in this town, my poetry was born between the hill and the river, it took its voice from the rain, and like the timber, it steeped itself in the forests.

You get a heck of a sound from the church. Can't you hear it in my voice?

The more excited the rooster gets, the higher his voice goes. He's got a little bit of a Barney Fife quality to him.

You'd have a good voice, if it ever came out of your throat.

I love listening to Radio Head's 'Everything in its Right Place' because it's all major chords, it makes you feel really good. It's soothing, it's got a beautiful voice, crazy textures. When I'm down I listen to that song and it really makes me feel good.

One needs a Seer's Vision and an Angel's voice to be of any avail. I do not know of any Indian man or woman today who has those gifts in their most complete measure.

It was he who impressed, time and again, the necessity of singing as nature intended, and - I remember - he constantly warned, don't let the public know that you work. So I went slowly. I never forced the voice.

We tune down a full step when we play but I never miss a note. I've learned how to keep my voice.

While Kuwait is not a democracy, giving only half the population a voice in their government is not a policy this Congress should support and one that I am glad that Kuwait's leaders are changing.

There's plenty for me to do. There are more albums. I'll record as long as I can and as long as my voice works as well as it does now and for as long as people want to hear me.

I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.

John the Baptist was supposed to point the way to the Christ. He was just the voice, not the Messiah. So everybody's calling has dignity to it and God seems to know better than we do what is in us that needs to be called forth.

I found my voice was a reaction to all that voice stuff.

It is not the voice that commands the story: it is the ear.

When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.

That's one strength that Stevie has. She's really not a strong instrumentalist in any way. Her instrument is her voice and her words. And it keeps her focused on the very center of that.

But when they offered this little situation for me to do this voice in this special segment, I found it so incredibly humorous that I said yes, and I enjoyed it. It was fun.

If particular care and attention is not paid to the ladies, we are determined to foment a rebellion, and will not hold ourselves bound by any laws in which we have no voice, or representation.

When you're special to a cat, you're special indeed, she brings to you the gift of her preference of you, the sight of you, the sound of your voice, the touch of your hand.

I listened to Billie Holiday a lot in order to learn to sing. She remains one of the extraordinary jazz singers. But my intent is to become my own voice, to be able to interpret these songs in my own way.