There's a great rock and roll scene in Sweden. There are many smaller bands like ourselves that are great. Oh yes, there's a band called Eggstone, they're really good, and a band called the Soundtrack Of Our Lives, which is excellent.
I think I began getting really influenced by that whole punk scene around the age of 13 or 14-I went through that whole thing like the shaved head. I was always interested in what people called "the darker side," whatever that was, and the kind of look that you would see in the old horror films. So I let that become more of my persona.
I was always interested in music, I felt it was time to do it, coming out of the punk scene [1979]. I thought it was ideal that anyone could just put together a group and make it work. Then, of course, it became a little more detailed after starting it and realizing that it was something serious, not just a one-off situation. I had to put a lot more into it. Also I did it to get a lot of things out of my system, things that had been put there while I was growing up in my family. A sort of exorcizing of demons.
Back then and later on when I was in NEU! and Harmonia I was too much preoccupied with my own music to be aware of the German music scene, let alone following it actively. But changes which were happening with S.o.S. (namely the development of individual ideas and the effort to distinguish from the Anglo- American rock patterns) also helped me recognize other musicians within my immediate vicinity.
It was mix tapes, that's my story, I did a lot of mix tapes, that's what I started doing when I was 17. I got with a hot DJ out here and you know Texas, the rap scene is different, everyone out here is on the Screw music.
My favorite love scenes in movies don't involve passion, they involve nobility or sacrifice.
My emotional investment started when I read the first scene of the actual drama [45 Years]. I can't explain it, there's no logic to it, but the notion of one's youth that somehow comes back but is gone, a man of my age connecting to that timing of life.
I think that I would like to have that kind of a budget [hundreds millions dollars] and I think the reasons for it are it gives you more time and it gives you the opportunity to be more ambitious with what you want to do with the camera and also how a scene works. I wouldn't want to direct those kinds of scripts.
Unfortunately, we don't have a depth of African scriptwriters, so it's easier to Africanize something that already works. Local script writers are giving me James Bond budget scenes that I can't even produce.
We always need to have someone help with videos, I think all of our DVDs could've been better but our music video, I love all the music videos, but the actual behind-the-scenes and stuff of our music video DVD, it was rushed and didn't turn out great.
There always should be something hanging unfinished before a scene ends so that there's a reason for going to the next scene.
I kind of build a novel the way marine polyps build a coral reef, it's millions and millions of little precarious bodies stacked on one another. And in my case, that's thousands of minutes I go through to get from one scene to the next and build it that way.
I have tried to write soundtracks, and the main problem with those was that the directors often had in their minds a much stronger sense of what they wanted to hear, than what I was willing to give them, and I guess there was no way to say, "Well why don't you write your scene around my music?" Because that's just cocky and awful.
If the film isn't suspenseful, i.e. the pressure cooker situation of what's going on in the movie, if that's not part of it, if the threat of violence and the temperature isn't always going up a notch every scene or so, then the movie is going to be boring. It's not going to work.
The borders and boundaries of hip-hop have been broken all over the world. There's a great scene everywhere you go.
A lot of individuals I've met that I've done a song or two with. But to be honest I'm not incredibly familiar with the scene. I mean, I'm more familiar with people coming from other countries like Latin-American MCs and African rappers... that type of stuff I'm really starting to get a hold on.
I was writing a film criticism book on Sergio Corbucci, the director who did the original Django. So, I was kind of getting immersed in his world. Towards the end of the Inglourious Basterds press tour I was in Japan. Spaghetti Westerns are really popular there, so I picked up a bunch of soundtracks and spent my day off listening to all these scores. And all of a sudden the opening scene just came to me.
When you're young and you play music, you have a peer group, you come out of a scene. There's a lot of people you know, and then you have some success, and it all goes away.
As an actor, I feel that my work makes me very vulnerable. I have to be emotionally available to serve the scene I'm doing. You never quite know where your emotions will take you.
It's been cool to see on the Voice all these up-and-coming artists from all over the country just develop and follow their careers as well, because we were all at a beginning point together. Now, after seeing the business side and behind-the-scenes stuff, it's hard for me to watch reality TV and play along like they want you to.
Athens, much like Austin, is a difficult music scene. There are so many musicians there that it is hard to get gigs and hard for people to take you seriously.
I was a grill cook at McDonalds for a little bit. I did landscape for a little bit. I played a lot in the bar scene, I played countless sets of acoustic songs in that arena.
Virgil Donati is clearly the best drummer to come along in the music scene in quite some time. He is extremely unique and has embraced an original sound that has given him a signature that is unmistakable and impossible to duplicate.
See, because I played behind the scenes so much I already knew what to expect. So I started getting myself ready. I was creating work for myself to do. People were telling me to take a rest and saying "damn, you already acting like you going on MTV or something." In my mind I was because I knew it was what I'd have to do in the near future.
The good thing about having chemistry is, when you get to the improv section of a scene, you've got somebody to feed off. It can go on and on and on, and the sky's the limit.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: