Tonal Balance Quotes

In the right key one can say anything. In the wrong key, nothing: the only delicate part is the establishment of the key.

I'd have to say that my favorite kind of film is serious comedy. Comedy with serious underpinning. 'Little Miss Sunshine' is like that. That's my fave genre, if I had to pick one.

The Kerry campaign was a difficult one to be involved with, it is a real juggling act to set the tone and pace of these things accurately.

My music is tonally based. There is plenty of dissonance, but it's used as a contrast. There is polytonality at times and a lot of rhythmic interplay.

Humor and seriousness are not in opposition to each other.

I wasn't interested in writing music that wasn't beautiful for me to listen to.

My dad got into this group, Commission, with Fred Hammond, and that was my biggest gospel memory. I would hear that all the time, and listening to their voices helped me develop my voice because I would try to emulate them as a kid. It taught me tone, and it gave me a balance.

Matt Wilson, the colorist, has this great palate [in Paper Girls] that brings up all these emotions and this feel of the '80s without being actually as kind of as bright and primary as it could have been.

I think horror comedies tend to skew more comedy than horror, for the most part.

I want to paint a canvasthat will be nothing but harmonious tone.

There are rules that are so blatantly broken on 'Contra,' like structures of harmony and texture.

I am concerned that the subtlety is being lost and every film tends to look very contrasty and saturated.

If you look at 'The Best Man,' there's a lot of humor in that, but I never consider that movie a comedy. I felt that it was a drama with comedic elements and comedic parts to it.

I think the writers give us different people to work with, different situation scenarios to be in and there's always that fun balance of, you know, trying to keep it light and, you know, light-hearted and put in the comedy while trying to make it into drama.

Weirdly, some of the middle stuff of the descent into something going wrong were the hardest, tonally. You don't want to jump the gun and be instantly paranoid about the fact that she has made coffee wrong because that would be weird. It's the slow build and letting it sink in. If they say everything is okay, you believe your partner. You don't want to rattle the boat too much on your honeymoon.

I like loud snare, and I like really treble-y guitars, and that's just never going to change.

For whatever reason, the films I gravitate towards do have these strange sort of tonal balances to them... I kind of realized on '50/ 50' why I liked these blending of tones, because I think it's kind of what life is like: funny one minute, sad the next, scary the next.

Certain shows, when it's all comedy, it's like when you eat something that's too sweet and it just tastes gross. You need that salted caramel.