Fred Melamed Quotes

I guess the biggest challenge to doing any kind of animation voice work is that you only have your voice to tell the story.

It's a different world for those of us who are doing this for a living. Certainly a lot different than my dad had to deal with when he was calling games on a national level for CBS. It's just a different world. I'm not saying it's better or worse, there's just a lot more access.

I just think we live in a world where people are so excited about the hot new thing, but you can't necessarily tell a story in one movie. With this platform, we can really dive deep and go for it.

We always see shifts in employment. If you think about it, if you go back to 1800, it took 80 percent of the labor force to produce enough food for the country. Now it takes less than 3 percent. Well, the truth is that market systems move people around.

Now the industry is looking at the change in a very real way - to find ways of talking to the consumer much faster. Everything we have is changing with communication - from fashion to newspapers.

We don't really know how technology will affect narrative. That's the question. See, people used to say that the novel is going to die, but they would never say that movies will die with it, when in fact all forms depend on the narrative. I think if one of them fails, the others are going to fail as well. Maybe this will happen to both forms, and maybe movies will take a totally different direction with fiction.

I think poets are supposed to be writing for television and film. I grew up in the day of early TV that was so raw and funny, and I think we're in the next important moment of television, where it's really telling the epic of the culture like Charles Dickens was doing in the 19th century with his serialized novels.

I started out as an actor, but I forced myself to be a writer, even though I wasn't very good at it and had never written. I don't think I ever passed an English course in my life. My first eight to 10 scripts were pretty horrendous, but I stayed at it, stayed at it, and stayed at it, until I eventually found a voice and a subject like Rocky that people were interested in.

If I were beginning my career today, I don't think I would take the same direction. Television is at a crossroads at the moment. And although I am not up to date technologically, I suspect that somewhere out there people are conveying things about natural history by means other than television, and I think if I were beginning today, I'd be there.

The record business is changing a lot, and I don't think to the detriment of music - I think, if anything, it's helping music. It's to the detriment of the business in some aspects. In many ways, you might say this is not the time to be going back to the majors, it's the time to be leaving them, which is a good point.

I think the voice over actually enhances the various moments instead of compensating for something that's lacking. Voice over can be tricky. It can be dangerous because its over used or inappropriately used. I think in this case it informs the story.

Trump - the American people have spoken. He definitely touched a chord in this country. I don't think we as a country can ignore that. There are people in this country that felt their voices were not heard, and now I think everybody is listening.

You get very little from the studios anymore, it's all independent. And I think the studio, with the exception of something like The Social Network, a fine film, very interesting, but as for studio pictures, that's it, what else? There was more only a few years ago. So it changes, and I'm trying as much as I can.

I think my music is definitely country but it's got a little bit of that rock flair about it. I always try to find the things that everyday people deal with in their everyday lives and situations in the songs that I sing.

I loved adventure movies. I loved movies where people went on an adventure to an unknown land, an undiscovered country, or a new territory. I think there's something, right at the center of storytelling, that people love about that.

What I think is new is the wealth of roles for actual women in television and in film. That's what I think is revolutionary and evolutionary.

What is absolutely true is that any good [Television] series has a specific voice. And I think that voice is almost exclusively the domain of the executive producer. . . . As a staff writer you're not being called upon to be the great creative person. You're sort of called upon to understand the characters and their voices and put them through certain paces.

I think movie makers in every country are looking for ideas. It's interactive. And sometimes we remake a lot of Hollywood films but we don't buy the rights, we just try to imitate those films.

I'm not thinking in any big thematic or conceptual terms - especially in this book [Lincoln in the Bardo] when I was trying to make the voices more active, more energetic.

As one of my creative writing professors once said, there are only seven plots. What makes those plots different is how you handle them, your voice, your style, and your way of thinking. That’s all. People can mimic your style, but they can never achieve your unique point of view.

I think it's very interesting how an American network chooses to tell this story. We don't name one country the good guy and the other country the bad guy. We talk about this co-responsibility that we share, in everything.

I'd like the campaigning to be about all the things they're not going to do. Just tell me what you're not going do! Don't tell me what you're going to do. Just say "I'd really like to do solar energy but I'm not going to be able to. I really want to dig holes everywhere in the country but I really won't be able to do it because people seem to think that maybe my water will be screwed up."

Once you train you develop your own aesthetic and your confidence. So, I think as I grow I'm learning how to be a singer. I'm training my voice and being on stage and singing and dancing.

Fiction writing is a strange business when you think about it. You sit down and weave a network of lies to explore deeper truths.

Membership in the European Community, now the European Union, has enabled Ireland to re-find its sense of participation - cultural, political, social - at the European level. I think that also opens up possibilities for Ireland as a European country to look outward - to look particularly, for example, at countries to which a lot of Irish people emigrated, to our links - our human links - with the United States, with Canada, with Australia, with New Zealand. And to look also, because of our history, at our links to the developing countries.