Carrie Underwood clearly drove 'The Sound of Music.' For 'Peter Pan,' we had terrific actors but not stars, and we did not do nearly as well.
Now, I don't know about my peers, but I get nervous - okay, I genuinely freak out - when an actor starts trying on a Southern accent. That's for Brits trying to find the easiest way to sound American.
Or in other works I have also projected the sound in a cube of loudspeakers. The sound can move vertically and diagonally at all speeds around the public.
The one thing you don't want is that stale sound when you've done a line so much you can't find a fresh approach to it. Drop it.
However now we can create a sound that can truly startle someone and in terms of sound effects I think the environment that we are in now has improved dramatically.
My mother couldn't take having three boys. She was extremely jumpy, to say the least. Any noise startled her. The sound of a pot dropping on the ground could make her hit the ceiling.
I think movies lost a lot when they went to stereo and five-track sound.
The sound of 'gentle stillness' after all the thunder and wind have passed will the ultimate Word from God.
I always knew I couldn't sing, but I also knew I had a voice that isn't heard by many, and that I could learn how to stretch it and make songs sound good.
The Strokes can play anything. They could play 'Thriller,' and it would just sound like 'Thriller' as played by the Strokes.
Strong men have sound ideas and the force to make these ideas effective.
'Piku' was driven by subtleties. Most films come with the padding of the sound, the visual, the drama.
Universal suffrage is sound in principle. The radical element is right.
Dee Dee very much filled in the bottom of our sound as opposed to supplying the rhythm.
The true harbinger of spring is not crocuses or swallows returning to Capistrano, but the sound of the bat on the ball.
It's all about sound. It's that simple. Wireless is wireless, and it's digital. Hopefully somewhere along the line somebody will add more ones to the zeros. When digital first started, I swear I could hear the gap between the ones and the zeros.
Out of the simple consonants of the alphabet and our eleven vowels and diphthongs all possible syllables of a certain sort were constructed, a vowel sound being placed between two consonants.
In poetic language, in which the sign as such takes on an autonomous value, this sound symbolism becomes an actual factor and creates a sort of accompaniment to the signified.
The pull between sound and syntax creates a kind of musical tension in the language that interests me.
I think Tesla doesn't sound like it has a very collaborative culture.
