Peter Brook Quotes

A speech idiosyncrasy, in the same way as an air quote, is really justifiable only if it's employed very sparingly and if the user consciously intends to be using it.

Music deals with time and timing. It's so magical, but when you get into it, every little sound and every little space between the sounds, it's critical, so critical. And if it's not there, it not only feels wrong, but it ruins things.

It is a culture voice, but it is a very American culture voice, and I am very used to English culture voice. So I had to work like hell to flatten those R's.

I play more rhythmically than I do a lot of notes.

I don't really care about a song or lyrics; I'm really just interested in the way people emphasize words. That's what makes a strong impact on me.

Singing in Hindi is nice but restrictive. Regional languages are more rhythmic, have a different tone and sound, making it more interesting.

Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.

The most difficult problem in conducting is intonation. You must know what is wrong and how to correct it.

Accent [emphasis] is the soul of speech; it gives it feeling and truth.

Pace, rhythm and timing. Pace, rhythm and timing is what it's about. The content's got to be great, but then it's got to be delivered. It's a tricky thing to do, and it takes a lot of work.

If you listen to people talk, when people actually talk, they talk in melodies. If they get angry, their voice rises, and it's more of a staccato thing. When they ask for something, they're real sweet. It's all music.

You really have to play with the space in a riff so it can be allowed to breathe.

I tried out the unfamiliar syllables. They fit. They cracked in my ears like a fist through ice.

When you use a metronome, you'll start to notice where the notes are falling, if they're on the beat, behind the beat, between the beat, and so on.

Dialect was my biggest fear. So, I spent a long time working with dialect coaches just trying to get American down. I think it's very important and very easy to misinterpret.

One of the ways to use your depth is to play with speed.

I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.

I like it when people have good flow, but I also like it when people actually say stuff. Because sometimes that's a very good distraction, like, to have impeccable flow, but you're saying a lot without saying anything.

I learned a lot my rookie season - the pace of the game. Playing at the right pace, not 100 miles an hour.

In a series, you have the luxury of time to establish the character and build a rhythm. In a TV movie, you've got to come up with the rhythm now. Right now.

I think there are always going to be people who say, even if they are engaged in the movie, they just want it to move faster.

Everybody's been blessed with something, and my gift is my timing. Let's face it, it's all about keeping time and having a groove.

One of the important things about familiar form and metricality is that it draws attention to the physical nature of language: the spell-binding nature of it and the ceremony of articulation.

In animation, action is changing so quickly that there's really not a lot of suspended moments.

To be good in playback, you need to modulate your voice and sing with an accent that can provide some freshness.