Bruno Maag Quotes

When I signed with Scooter Braun and I decided to go overseas to promote my song, the only concern was how should I communicate with the public and the audience with my language. Scooter and I talked a lot about that: should we translate or not? Finally we didn't, and I think that was a really good decision.

The cool thing about doing a voice-over into a different language is that you get to bring the character of your own culture into it.

Musicals are written in English, and then we import them to Japan. When we translate them into Japanese, the sounds of the language are completely different. The Japanese language is not the best for singing, in terms of sound.

I write my novels in English first; then they are translated into Turkish by professional translators. Then I take their translation and rewrite. So basically, I write the same novel twice.

Funny how words in one language get used in another language. For example, 'scotch' in Russian is tape and 'pampers' means diapers.

At Sussex University, I developed a system called WinLocX to help with the process of translating software into foreign languages.

I wouldn't exclude writing another song in German, but I don't want to translate songs anymore. We used to sit down and literally translate every song word for word - it was very technical, and the songs would lose so much along the way.

I got a lot of exposure because of 'Eega,' as the film was released in Tamil, Hindi, and Malayalam.

Whenever I write my music, it's always been in English first and then I take it into Korean.

I have dubbed in all the three languages - Hindi, Tamil and Telugu.

It's just so obscure to take a folk song in a different language and be a pretty well-respected English-speaking rock band and totally take a song and twist it around and have fun with it.

The language in New Mexico is very different. At first when you hear the speech here, you don't really know what to do with it, but then I just went with it, because as a writer as well as a translator I do believe that translated words are not different names for the same thing. They're different names for different things. I tried to stay as true as I could, so I used Ruben Cobos' dictionary of Southwestern Spanish, and when I went into Spanish I never assumed the word I would use would be the word a nuevomexicano would use.

English, no longer an English language, now grows from many roots.

If I speak Spanish in my show, which sometimes I do, I translate what I say. I make it where I can still be myself, but I make it to where everybody knows what the hell is going on and when everyone leaves, they're like "OK, I get it."

I'd get suspicious looks from people just walking down the streets. Where are you from? They'd ask. I'd reply in whatever language they'd addressed me in using the same accent that they used. There would be a brief moment of confusion, and then the suspicious look would disappear.

I lost my ridiculous accent without acquiring another

Giant letters march across the dome of the sky: HOME NOT FOUND. Huw, who knows Comic Sans when she sees it, winces in mild disgust.

I have read all my novels that were translated into English. Reading my novels is enjoyable because I forget almost all the content in them.

Typography is to literature as musical performance is to composition: an essential act of interpretation, full of endless opportunities for insight or obtuseness.

Words also are filters. They have to be translated. Even in the original language, there is interpretation and some ambiguity. If there's a cultural difference between the writer and the reader, that might come out in words. But with pictures, there's more efficiency.

Computers will have to learn that when I quote from some old author who spelled differently from the machine, the wishes of the long-dead author will have to be respected, and the machine will have to mind its manners

You don't have to know the whole language to use it usefully, you can do baby talk, you can do grown up talk, you can cuss in it, you can write poetry, you can be a playwright, is sort of the idea.

At first I thought I would have to put on an English accent and try a sort of affected Shakespeare thing.

Time changes all things; there is no reason why language should escape this universal law

I know in London a Welsh hairdresser who has striven so vehemently to abolish his accent that he sounds like a man speaking with the Elgin marbles in his mouth.