Luka Sulic Quotes

'Close To The Edge,' we actually had played it from beginning to end before we recorded it in the studio. So we knew how long it was, and we knew it would fit on the album fine, so we didn't do any editing.

That is basically me, and although I have done many things in my life - conducting, playing piano, and so on - what is fundamental is my being a composer.

My music is simple stuff. Anybody can sit down, look at a set of symbols and produce sounds the music represents.

My songs are more arrangements than they are songs.

I love working with an orchestra, but there are many ways to make music.

I like to create the music I hear in my interior. As a conductor, you have the ability to squeeze the sounds and interpretation you asked for from 50 to 80 people.

I had a really pleasant time composing music for 'Raaga.'

Part of what I enjoy about writing classical music is communicating through the score and collaborating with such amazing musicians.

A song is composed of music and lyrics: 50 percent is the producer, 50 percent is the artist. So, I'm responsible for 50 percent. All I know is that I have to do my job, and I have to do it well. And he has to do the same.

I think John Williams, him and his team, have been incredible orchestrators. By that, I mean how he chooses which instrument plays which note.

So when I was working with Amy Winehouse on "Back To Black," you know, she had all these beautiful songs, incredibly well-written and just her on an acoustic, nylon-string guitar. And she'd play them for me, and then I would kind of drum up my idea of what I thought - make a demo with what I thought the drums should be doing, the guitars - like, quite a crude demo.

I love conducting. What I'm tired of is music administration. I don't want that. I just want to make music.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

I think that the process of making music is a hard one to describe as well.

It's always difficult to know if a song needs more than piano, and I worry about my tendency to go in a sparse direction.

I write the music, produce it and the band plays within the parameters that I set.

Artie is a singer, and I'm a writer and player and a singer. We didn't work together on a creative level and prepare the songs. I did that.

I was trying to do the same thing that I always do which is make an interesting record.

My operas usually come from musical ideas rather than ideas about subject matter.

If you're going to start with melody you'll need some tympani, I think.

I consider myself a composer.

I don't want to write any more for the old Man-power instruments and am handicapped by the lack of adequate electrical instruments for which I now conceive my music.

Each one of us had a little story to tell and each recording was based on that. Lou played all of the music but we both sort of kicked around some cords during the writing phase.

If we were truly in the studio making a record, it would have been more time consuming, and certainly I would have been more involved in the writing process.

The bass line is the anchor for me. I started with the bass, and either doubled that and then added the harmonies, or sometimes added my own harmonies that I've always wanted to sing on the song. And then it just went on from there - singing violin parts and trumpet parts and just trying to emulate the sounds of the instruments.