Georg C. Lichtenberg Quotes

The sound must seem an echo to the sense.

I just think lots of words have physicality. How about the word 'wobble?' You think that's arbitrary? When you say the word 'wince,' you wince. How about that?

Though my poems are about evenly split between traditionally formal work that uses rhyme and meter and classical structure, and work that is freer, I feel that the music of language remains at the core of it all. Sound, rhythm, repetition, compression - these elements of my poetry are also elements of my prose.

In video games and animation, you find that the toughest things to make different are the things that aren't words: grunts, groans, gasps.

I don't think of poetry as a 'rational' activity but as an aural one. My poems usually begin with words or phrases which appeal more because of their sound than their meaning, and the movement and phrasing of a poem are very important to me.

Sound is a huge influence on peoples' attention.

I do a mean mouth trumpet.

Poetry is meant to be heard.

I loved cartoons as a kid, and so many funny moments in animation for me are nonverbal sounds, unarticulated mouth noise.

Sound is the most important thing on any film, especially documentaries.

Prose is not so dependent on sound. The line of poetry, with the breaking of the line - to me, sound is the kind of doorway into poetry. And my sense of sound, or my ability to control it, lapsed or grew less.

Poems are a form of music, and language just happens to be our instrument - language and breath.

I am definitely of the method-acting school. Everything to me is about sound. I don't dress up in period costumes or anything like that. I'm very aural. When I'm working, I try to soak up the sounds of an era.

Perfumes, colours and sounds echo one another.

We lost the crickets," she said. "Even you can't make that sound tough." ..."I am Butler," he said with a straight-face. "Everything I say sounds tough. Now, get out of the lake, fairy.

Was there ever a name more full of purpose than Chicago's? ... spoken as Chicagoans themselves speak it, with a bit of a spit to give heft to its slither, it is gloriously onomatopoetic.

Normally I can't watch playback. I can't watch anything because I know that it's so rough and there's going to be effects that are added, there's going to be sound effects, there's going to be so much stuff that happens between this point and that finished product that it just ruins the illusion for me.

I can actually see the sound in my head. I can actually see it... But each sound is different so this one has that sparkle, there is a sparkle to the sound.

Music or sound in a film is a character as important as another character.

I have a playlist of farts on my phone.

The oboe sounds like a clarinet with a cold.

I discovered the miracle that all things that sound are music, including the dishes and silverware in the dishwasher, as long as they fulfill the illusion of showing us where life is heading.

I like to make my voice sound like a piece of tin that's been stuck on the side of a chair, lifted up as far as it would go and then let to spring - "doooiiinng." I like to make it into a piece of metal from time to time and I can do it, both with the movements in my throat and with, uh, my little toys... So I like to take it beyond just a voice, more into the realms of a weapon.

I always mention toy sounds when I go into any session.