Noel Redding Quotes

I went along and basically learned a few of the songs they were doing at the time, which were quite a few of the songs we ended up doing on our first album.

The band set up in January and just started rehearsing. If there was a song, we'd just rehearse it as a band, and it would get arranged as a band, and it got changed around a lot.

I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.

When Sonic Youth wrote music, we would rehearse for months before anybody heard anything.

I would play all the parts of the song, show them the way it went together. Then I'd basically break down an arrangement - I wouldn't plan endings or beginnings - so they knew everything that was going on. I had the lyrics on a prompter so that I could remember everything I'd written, and I was able to just get into the groove and play with them. I think "Peace Trail" is one of the exceptions, where it's a later take. It just happened really quickly.

I met the guys at HeavyRoc through the drummer in St. Lucia, Nick Brown. He is Ben from The Knocks' cousin, and at the time we'd been doing some work together, but everything was still very much in the unsure developmental phase (even though I'd been in it for a year and a half). I told him that if he was going to play the music for anyone that he shouldn't say anything about it and should just play it and see if anyone says anything, and he did it one day at their studio and they loved it and got it touch.

It was a very lucky set of incidents that led to Wham! getting a record contract - although we weren't Wham! when we got the record contract. We were nothing; we were just two friends who had written a few songs.

The collaboration really begins once the rehearsal starts. This is when the actor takes his place, because he becomes the one who is going to bring the words of the author off the page.

The pre-shoot days are so relaxed and fun and the writers are laughing. I love the rehearsal process.

In rehearsals I get so completely wrapped up with the reality that's occurring on stage that by the time the play has opened I'm not usually quite as aware of the distinctions between what I'd intended and the result. There are many ways of getting the same result.

[John] Hughes was open to that [rehearsal]. This can only happen if the director and/or the writer are open to that.

I don’t like to rehearse. And I couldn’t understand how you could go through eight weeks of rehearsal, without exhausting every possibility. To the point where, you know, you would just lie gasping on the floor!

The importance of rehearsal is maybe you want to talk about how the scene's going to be designed, how it's going to be staged, all of those things. It's all about preparation, and deciding what mutually you don't want to do, rather than necessarily what you do.

I like to really spend the time and figure it out and rehearsal is to try something that doesn't work. It's hard to do that, because you always want to go with your impulse thought and you wonder if that's the one, did that work, you know?

With writing, there are multiple drafts. On stage, there is one take. I do a lot of preparation for shows, so, for the most part, what you hear me say is pretty much what I wanted to get at.

I just being able to write songs I'm proud of and finding some women to play with is exciting.

What I hope is to really focus on being a songwriter. I'd love to write songs for other people; that's something I'd really like to start doing.

I love rehearsals and I love creating a character, sticking with it until you have something to tell. It's always different though. Sometimes a director will tell you from day one what they want. Then you throw in your idea.

Rod Stewart, Elton John and I were going to form a band called Hair, Nose & Teeth after the three of us. But it hasn't happened because none of us can agree on the order of the words!

It's funny, I think after you are a star like Sting and you no longer think you need any guidance or aid - it would be great to see those stars work with other songwriters.

I feel like when the songwriting slows, I'd love to help others with their records. If it's something I really believe in, it's worth the effort.

In high school no guys wanted to be in a band with me unless I was going to play bass or play grindcore or be in a scream-o band, so it was fun to finally have that experience of having my songs backed by a drummer and a bassist who were just as excited about it as I was.

I remember watching Soulja Boy on YouTube over and over again to prepare for it. For the first one, I was up all night in my kitchen, practicing the dance, because I knew I had to dance with Timberlake and that guy can dance.

In theater, there's a lot of discipline involved in doing eight shows a week for a year and a half. It's nice to be able to bring some of that bag of tools with you over to the film world, where you don't have the rehearsal, you don't have an audience. You don't have a month of rehearsal to examine these words, and you meet the guy who's going to play your brother the morning that you shoot the scene. So you need a bag of tools.

It was amazing how much rehearsal helped with the performance - it was almost a theatrical approach to filmmaking.