A couturier must be an architect for design, a sculptor for shape, a painter for color, a musician for harmony, and a philosopher for temperance.
I'm from Mexico, and I've heard some horror stories about cast members who can't stand each other. What we have on 'Jane' is a blessing. We do table reads for every single episode one day before it starts to shoot.
The environment on the sets of the movies I make, it's usually all friends and people that know each other, because no one's getting rich or making money, so it's always about, hopefully, that everyone's on the same page.
I think there is more cohesion when you have one director on set.
For me it's also - the music is equally as important. I mean I think as somebody who writes music, there just has to sort of be the marriage between both.
When I'm playing, I play what I want, but I make sure that the crowd is going to love it at the same time. It's like a balancing act, a mix of two, a perfect circle... if you do it right.
Seeing our VH-1 Behind the Music shows just how dysfunctional some of the moments of the band were but this new line-up has put the fun back in dysfunction.
Formerly it was the fashion to preach the natural; now it is the ideal. People too often forget that these things are profoundly compatible; that in a beautiful work of imagination the natural should be ideal, and the ideal natural.
Artt Frank is my all-time favorite drummer. He always seems to know where I'm going.
Not many people come out of a big band as the lead singer/songwriter and making a record, and all of a sudden we're all happily sailing at the same pace as we were before.
I've realised that to make a successful film, you have to be with a unit which is happy and positive from the beginning.
'Room' was a particularly cohesive group, crew and cast.
I dream of a collaboration that would finally be total, in which the librettist would often think as a composer and the composer as a librettist.
Just as counterpoint and harmony follow their own laws, and differ in rhythm and movement, both formal tensions and color tensions have a development of their own in accordance with the inherent laws from which they are separately derived. Both, however, aim toward the realization of the same image. And both deal with the depth problem.
It's been amazing to create with one another because we're so different when it comes to music. We love different genres. So to vibe together and create this Fifth Harmony sound is what makes it so special.
It's always a bit much, being in a band with your brother. We fight all the time, but it's kind of comical.
Cezanne produced precarious little worlds that almost, almost, almost lose their balance but somehow hold themselves together, creating tension, beauty and danger all at once.
When you actually like each other, it translates to the music.
When I was working on The Wire with the other actors, scene after scene after scene, I felt like we were singing together. We were dancing together. I'm like, "This is the best ensemble I've ever worked with. I'm working with these cats? Holy mackerel, this is heaven."
Even in modern art, artists have used methods based on calculation, inasmuch as these elements, alongside those of a more personal and emotional nature, give balance and harmony to any work of art.
Amaal is a music composer, and I am singer, so I think we compliment each other rather than competing with each other.
Although I have the colors, only the Lord can mix them with such harmony.
Art is a harmony parallel with nature.
It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
I'm not so much into the beats. I'm more into the spiritual side of the music.
