Jonathan Groff Quotes

If you can make the song a soundtrack to what you're living at the time, I think that's the most important part of a song.

I love doing movies that touch people's lives.

I like black and white films. I don't exactly know why - probably because there is a stylization which is removed from actual life, unlike a color film.

I love films that make me react emotionally and physically when you walk out of the cinema. Two of my favorite films however have got to be 'The Tree Of Life' and 'The Piano Teacher,' which also stars one of my favourite actresses Isabelle Huppert.

I'm interested in the impact my movies have on people and how it affects them, and what they like and what they don't like - and what they take away from it. What leaves an impression, you know?

It doesn't matter if a critic pans or praises my movies, I am only concerned about that one audience member and what their experience is.

I consider those actors who amaze me are somehow less attractive to me than those actors who move me.

Music is feeling. You can try to verbalize it. It really just hits you or it doesn't.

I tend not to be so attracted to films that force me into an intellectual place over an emotional one.

I just want to make art that connects with people and moves them on an emotional level. Any time I can put out music and place a story behind it and have people watch it and go, 'Wow, I was affected by that,' to me, feels like I've done my job.

I wanted to make somebody feel like Coltrane made me feel, listening to it.

If the picture speaks to me, if it tells me something about myself, then I want it. Then I have to have it.

'400 Blows' was so much like my own childhood, it really stunned me.

A film - especially when it's a personal film - is going to hit somebody or it's not. There's nothing you can do about it.

I'm always looking for that movie that feels like it's hitting me where I need it.

I never leave a piece of theater that I love and say, 'That was a good point; They made a good point.' I leave, and I feel something.

It feels really good that people are connecting to my music so much.

I'm just first of all looking for a part that's well written and speaks to me.

To write a song and have it embraced by someone, even one person, I don't think that's something that everyone gets to experience.

I love David Lynch's style. Someone once thought I was his son, so I must have been doing an alright job at emulating it.

People have cried at a couple of shows. To think that someone could do that for me... Jesus Christ. That's a crazy sign.

The whole deal with my music has been the emotional quality.

I want the poem to be an experience - for both the listener and for myself.

I have always wanted to work with Steven R. Monroe, and when I read his script, I was blown away! I think 'Complacent' hits a nerve that people try so desperately to avoid, which is what I love about Steven's work.

I always try to take performances as an opportunity to implant my spirit into the hearts and minds of anyone in a hundred-yard vicinity.