Quotes of All Topics . Occasions . Authors
I don't try to worry about sounding like anybody because I know I have my own tone, my own sound. It's just about being honest in a song and trying to relate myself or how to basically break it down as simple as possible for someone to try to understand it. Not being too deep, not being too shallow at the same time.
If you read the fables, 'Beowulf,' for example, you will know something about the person who writes them, and I like that. Secondly, they will not be about individuals; they will be about community. Thirdly, they're all about moralizing. Fourthly, the way they express themselves takes its tone from the oral tradition.
Tone is somewhat totalising in that, once I locate it, it tells me what kind of syntax to use, what word choices to make, how much white space to leave on the page, what sentence length, what the rhythmic patterning will be. If I can't find the tone, I sometimes try narrating through the point of view of someone else.
I like rock music because it's always sonically fascinating. There's never a method to what it needs to sound like. It's just however that instrument comes out that day, whatever the humidity level was in the air, what studio you were at. All that makes that tone that you can't re-create, so each song is like a person.
Sometimes, in certain stories, I think we know at the outset essentially what the tone is going to be, or it becomes important that we're groping toward some kind of story with a certain kind of tone that we both get somehow. But I don't think how that's combined with other elements is ever in any way overtly discussed.
Criticism is an interesting beast. For some of us, it can be received, regardless of tone, and used to learn more about ourselves and work. For most, it can shut us down, belittling the opposing side's opinion, testing their 'experience' in our field of choice, and ultimately leading to a harder stance, often misplaced.
Isaiah is by far the finest and least objectionable of the seventeen prophets whose supposed productions form the latter part of the Old Testament. A distinctly higher moral tone appears in the writings called by his name, and this is especially noticeable in the 'Second Isaiah,' who wrote after the Babylonish captivity.
The fact that 'A Dirty Job' has comedy and supernatural horror in it, that both are woven in and out of it with a whimsical tone, despite the fact that it's about death, makes it hard to characterize with standard genre labels - but I have no problem with that. I'd call it a funny story about death, and leave it at that.
The biggest issue for me has been the language because I speak so much German now. I've had to focus on my English and find more words to describe what I want to say and also soften my tone. It was quite stiff from 20 years of speaking German, so when I started speaking more English, oh my god, my tongue was like: 'Argh'!
'Seize the Story' takes readers all the way through the process of writing fiction, from beginning to end. Every element, from dialogue to setting, plotting to character creation, is laid out and illustrated with examples. But the tone of the book is not that of a dry writing manual - it's definitely written for teenagers.
I realized that being that No. 1 on the call sheet sets the tone. That knowledge, it's important to me that everyone - not just actors, not just myself, but everyone - have a workplace that they enjoy, where they feel respected, that they have creative input, and that they feel is a place that they're excited to go to work.
“The three of you are enough to drive a mara mad. 'She can wear my shirt,’" she growled in imitation of Nash."No, she can wear my shirt," she said switching to Tod's smoother tone.Then Sabine took off down the hall without a glance at any of us."I have a spare. Come on, Kaylee, before I choke on testosterone and melodrama.”
Culture is very important to the Mavs. Your best player has to be a fit for what you want the culture of the team to be. He has to be someone who leads by example. Someone who sets the tone in the locker room and on the court. It isn't about who talks the most or the loudest. It is about the demeanor and attitude he brings.
Well, outside of the tone, the big thing that I gained from working on horror film was how to shoot really quickly with no money. I learned how to be able to go into a production and know exactly what shot I need to get and how the shot needs to look and what performance I need to get out of the talent at a very quick pace.
Television, particularly as it becomes more and more serialised, comedies no longer have to tie the stories up neatly within 20-plus minutes. 'Arrested Development' had evolving storylines, as did both versions of 'The Office.' We're seeing that more and more. That allows it to be really, whatever the tone, almost literary.
When I was a teenager, I was obsessed with black eyeliner all around the eye, but for someone with my kind of skin tone and hair colour, using brown is actually better than black. I've also learnt from makeup artists how to apply lipstick in the correct way: by starting with the Cupid's bow first and working your way around.
My beauty routine has changed a lot since I turned 30. But also, being on camera more has made me dial in on my skincare and makeup routine. I have acne-prone skin, and washing my face with cleanser in the morning, using witch hazel to tone, and washing twice at night to take off all of my makeup has really made a difference.
When I was growing up, my dad wore a lot of browns and greens - darker colours, autumnal colours. When I was on the BBC news trainee scheme, around the turn of the millennium, we had someone come in and talk to us about what you wear on television, and I was told that khakis, greens and browns went very well with my skin tone.
When doing theater, you have to find great satisfaction in the small things. There's going to be a repetition and a redundancy night after night, but it's the small variations in those moments - a word, a tone of voice, the smallest sense of enlightenment that can happen in an instant onstage - that will be the most rewarding.
The way Disney characters move, they're very kind of slow and fluid and flowing; one pose kind of eases into the next. If you look at a show like 'The Simpsons' and subsequently a show like 'Family Guy' - the characters will jerk from pose to pose a lot, a bit more snappy. Which sort of goes along with the writing tone of the show.
The notion of rights is linked with the notion of sharing out, of exchange, of measured quantity. It has a commercial flavor, essentially evocative of legal claims and arguments. Rights are always asserted in a tone of contention; and when this tone is adopted, it must rely upon force in the background, or else it will be laughed at.
I had a strong vision for 'The Best Man Holiday,' so I was able to translate that to the actors and ultimately to the screen. Things can't get too heavy or too outrageously funny; it has to strike a balance. Tone is everything. If you've set the right tone, you can get away with a lot of stuff. You can get away with making people cry.
I think that part of the reason that 'Iron Man' was so successful was that we really chose to break new ground in a new area tonally, cast wise, the way we depict the hero, what his abilities are. It felt fresh in a genre that is beginning to feel stale if it's not done with the proper amount of inspiration and a strong voice or tone.
"What would they do to me," he asked in confidential tones, "if I refused to fly them?" "We'd probably shoot you," ex-P.F.C. Wintergreen replied. "We?" Yossarian cried in surprise. "What do you mean, we? Since when are you on their side?" "If you're going to be shot, whose side do you expect me to be on?" ex-P.F.C. Wintergreen retorted.
Growing up in Georgia, my dad was a farmer and we worked in agriculture, so we were always looking up at the sky, checking if rain was in the forecast. That always set the tone for the mood in my household, whether we had rain coming in or not - we knew the crops would be good and it was going to be a good week around the Bryan household.
Always, for me, when I am dealing with subjects related to my country that are very emotional, I have to find the right tone and distance because, obviously, I start with anger, asking 'why that happened' and 'why it is still happening.' I work to rise above my personal anger but still stay connected to my emotions. That's a big challenge.
I think 'Girlfriend' in particular is definitely one of the songs that is angled towards early 2000s, late '90s, R&B pop and those kinds of songs that were prevalent in that time. I don't think I was conscious of those songs in particular, but I'd say I definitely wanted a song that had that kind of vibe era wise in tone and all the writing.
'Calcutta is a pot of honey' means that in the first half of the nineteenth century, before the society became truly Victorian in feeling and tone, Bengal was a place to make money. The governor-generals returned to England rich men. It was a bountiful, lush, prosperous, easy place to make a fortune - in coal, in jute, and particularly cloth.
'Lean on Pete' is the story of a boy and his horse, but it is never heart-warming - it ranges in tone from desperate to merely painful - and, while fascinating, it is never entertaining or redemptive. But if you want an unadorned portrait of American life (at least in some places) at the beginning of the 21st century, this is the book for you.
We titled it, 'You Should Be Here,' for one, because just how special that song is, and I think it kind of sets the tone for this album. I've established that I like to have fun, but this is a little more than that - this album has got some fun stuff, but it's also got topics that I haven't gotten a chance to touch, and I'm so excited about it.
The people I really do dislike are the morally unimaginative kind of evolutionary reductionists who, in the name of science, think they can explain everything in terms of our early hominid ancestors or our genes, with their combination of high-handed tone and disregard for history. Such reductive speculation encourages a really empty scientism.
You want to have a feeling when you sing that you just love singing; you love the feeling of singing, and you love this feeling of this voice coming out of your body into this world. It's about really getting that most beautiful, pure, centered tone, thinking about the story of each song and the lyrics, and connecting your own life to that story.
I bring up 'The Heist,' and you can almost cut that record down the middle between songs where the beat came first and the words came second, and songs where the words came first and the beat came second. It can start with a vibe, a beat that drives a story, or it can start with a story and then trying to identify the tone to tell that story right.
Do you like to slide?" His voice was eager. Stair rails! Did he suspect me? I forced a sigh. "No, Majesty. I'm terrified of heights." "Oh." His polite tone had returned. "I wish I could enjoy it. This fear of heights is an affliction." He nodded, a show of sympathy but not much interest. I was losing him. "Especially," I added, "as I've grown taller.
If the oarsmen of a fast-moving ship suddenly cease to row, the suspension of the driving force of the oars doesn't prevent the vessel from continuing to move on its course. And with a speech it is much the same. After he has finished reciting the document, the speaker will still be able to maintain the same tone without a break, borrowing its momentum and impulse from the passage he has just read out.
Oh noes, kitteh haz major angriez!” I said. I turned around to share a laugh with my companions and found them glaring at me. “What?” I asked. Leif shook a finger and said in a low, menacing tone, “If you tell me I have to talk like an illiterate halfwit to fit into this society, I will punch you.” “And I’ll pull out your goatee,” Gunnar added. “Lolcat iz new happeh wai 2 talk,” I explained to them. “U doan haz 2 be kitteh 2 speek it.
Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
If... [Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.
