I prefer, and it turns out to be the truth, that I always have in my movies an ensemble of actors, but not just one individual doing the whole movie.
You know, in some ways conducting is counter-intuitive. It's like winter driving in Finland - if you skid, the natural reaction is to fight with the wheel and jam on the brakes, which is the quickest way to get killed. What you have to do is let go, and the car will right itself. It's the same when an orchestra loses its ensemble. You have to resist the temptation to semaphore, and let the orchestra find its own way back to the pulse.
[ 1600 Penn] is an ensemble comedy about a family. It just happens to utilize the fact that my character is now being forced into this world as a jumping off point. But, in no way is it the crux of the series. It's simply an introduction to the world.
The challenge, and also what I like most about a big ensemble movie, is that all actors have completely different processes and all of them prefer scenes to be done a different way.
Well, it's more of a sane life to be part of an ensemble! I find that the work can be more specific too and I have to really make sure I know where I am in the story because I'm not in every scene.
If you get a show named after you, and then play another character, that's fine. But if you do a show that's an ensemble show like... MASH, then you're in trouble.
We want an ensemble of stars, not comets.
I feel like the songs that I write are best when they are performed by an ensemble, rather than by one solo instrument.
A lot of the things I've enjoyed the most and that I think have been the best are ensembles.
Well that's what Andy wore to bed. You know, the oxford button-down Brooks Brothers shirt that he's been wearing all day and his big long socks. He'd just take off his jeans and his boots and go to bed. Then he'd change into a fresh ensemble after he had breakfast the next morning.
I was in the ensemble and also covered the parts of Dee Dee and Mary!! I had a fantastic time doing this show especially when we performed in places like Cardiff and Glasgow where the audiences were just so enthusiastic, joining in with all the songs and up on their feet dancing at the end!!
[the Ghost Team] is an ensemble comedy. It's about people who are searching for meaning in their lives, and they end up doing this stupid thing after they're inspired by one another.
When I was 13, 14, 15, I had played in a couple of jazz ensembles. I didn't know anything about harmony, about II-V-I, though I had learned my scales with Caesar [DiMauro].
I love big ensemble shows where there are a lot of things going on and you have to really pay attention because there's a lot of nuanced work and universal themes are being explored.
We sailed to Italy on the Andrea Doria, a year before it sank, and Zoot (Sims) and I played a lot of ping-pong on deck during that trip. Zoot sparked that [Gerry Mulligan's] sextet in an extraordinary way, soloing with joyous abandon and infusing the ensemble parts with his special brand of swing.
I'm only involved really right now with the Art Ensemble of Chicago and the Brass Fantasy.
You play ensemble things that you had no idea you were going to play two minutes before.
An outsider longing to be on the inside is the same as the soloist longing to work in an ensemble. I get great satisfaction in being a part of the proper - for me - community. I'm uncomfortable with various social groupings and clusterings. But when I'm in the right group, doing the right thing, I get as much satisfaction out of that as anyone who does it all the time.
One thing I love about making an ensemble film is that you can have ten people come away from it with ten different messages.
I got to meet a lot of cool people [on the Voice], and my favorite part about the experience was getting to sit around and do little jam sessions in the hotel. We were pretty much in lockdown at the hotel in downtown Los Angeles, and there wasn't much to do. It was interesting to be in a room with someone that was a rapper next to me, a country artist, then you have someone playing a song on the keyboard, and it was just really cool as just a random ensemble.
In 1993, I retired from the Art Ensemble of Chicago to devote myself full time to Buddhist studies and to the practice of Aikido.
It took me a long time to reach the decision to retire, actually, from the Art Ensemble. But it seemed more important to me to share the vitality of Aikido and the vitality of Zen training with people, even though it would be a smaller number of people, it seemed to give them something that could last and improve their lives.
At its core, 'Heroes' is an ensemble character drama with genre elements.
We're really fleshing out the whole world of the show [Difficult People]. It's more of an ensemble now, whereas last season we were very focused on establishing the Billy/Julie friendship. Now that that's been established, we don't question that they love each other and what the show's about. So we can meander outside of that.
I don't have to do much. What I was surprised at and the challenge was that dealing with an ensemble cast who are in scenes together everyday all day, that is a challenge. It's a challenge to make sure everyone get as much coverage and attention, it got just kind of competitive. I loved it because it made it funnier, but the improv went nuts. People were like, "Oh wait. I have something better to say." "Now, I'm going to say..."
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