The musicians are really on board, they're doing a great job together. There is some kind of a good chemistry, I would say affectionate chemistry and it's a huge promise of success. ↗
I'm very conscious that I want the dance audience to respond and respect what I'm doing, so I'm always very true to the music and I honour the music in the way I see it - I don't mess around with the music. ↗
Music draws from almost the identical place as art does, which really is that intangible - it's like you're pulling from the ether. I don't know where it comes from. ↗
Music has to be written while people are still excited about a particular melodic or rhythmic sequence. The idea doesn't come out the same if we're not really excited about it. ↗
What's interesting is a lot of the older music when we start performing it, it acts a lot like muscle memory. It's kind of like riding a bike. For me as a singer, I just had to remember like what part of my face I sang that into. ↗
I'd love to do a modern-day musical that's full of original music. To get your contemporaries to sing and dance without looking foolish and for it to be transformational and magical and all those things a musical is supposed to be. ↗
I just fell in love with his music. I thought Yanni was Japanese. I didn't have any idea what a Yanni was. I just thought I was in love with a Japanese man who wrote beautiful music. ↗
Actually when I gave out the script, I gave it with a CD of all the music I wanted to put in the movie, and again, we never thought we'd get all that music. ↗
