Unconventional Composition Quotes

A lot of improvisation and freedom went into 'Pinata.'

We made music that wouldn't be in synch.

The music, for me, doesn't come on a schedule. I don't know when it's going to come, and when it does, I want it out.

We frame things in an off-kilter way because it's unsettling. In the 'Mr. Robot' world, that's the norm, and it's the norm for the point of view that we're looking for, which is Elliot's. With our compositions and our visual language and camera movements, it's important to always evoke that unsettling feeling underneath every scene.

The heart of the melody can never be put down on paper.

I usually have an immediate recognition of the potential image, and I have found that too much concern about matters such as conventional composition may take the edge off the first inclusive reaction.

Unfortunately, the greatest photographers don't pay extreme attention to the clothes. If they decide to put a dress in a bathtub or in front of a cow in the countryside with dirt everywhere, well, the dresses come back... ready to be put in the garbage.

'Spring One' probably has only four bars of Vivaldi in it, but it feels like it's all Vivaldi. It's odd. It's a bit like walking around a sculpture, you just sort of see it from a different angle.

Usually, when Nirvana made music, there wasn't a lot of conversation. We wanted everything to be surreal. We didn't want to have some contrived composition.

As an improviser, my nature is to take a theme and constantly rework it.

You don't try to get influenced by everything that's going on with all the other music around you. You don't listen to the radio - I mean, I don't. When I get ready to do an album, I don't listen to anybody else; I don't wanna be influenced.

The passion and spontaneity in music is all gone.

Here on the drawing board fingers and noses leak from the air brush maggots lie under if i should die before if i should die in the back room stacked up in smooth boxes like soapflakes or tunafish wait the undreamt of.

It is true that if you hear our music described, it sounds unappealing. I used to laugh and agree with people when they said it didn't make any sense.

Too many people focus on writing what they think they should write, what should be in a song, what radio would want.

You should create music which comes from within and not bother about anything else.

I am not a methodical singer. I don't follow any process or rules; what I follow is just my heart - whatever I experience, I just write and then compose it.

I was determined to carve out a music of my own. I didn't want to copy anybody.

I don't have to worry about any pop sensibility. I can write adult songs, and I don't have to worry about choruses and hook lines.

My personal relationship with music is an imperfect harmony because I never studied music, but here I am not just writing for bands but full orchestral sections and doing all this composition, and I never learned the right way of doing things so I have a lot of dissonant sounds and things that are brought to my attention, and generally I leave them that way because I like those imperfections.

My concept when making music is that there is no border between music and noise.

One of the advantages of this found footage format is that you can have deliberately badly composed frames. Here we can put a camera in the weirdest angle and it kind of throws you off. You never know what you are supposed to be paying attention to. It's deliberate chaos.

I have always loved the amateur side of photography, automatic photographs, accidental photographs with uncentered compositions, heads cut off, whatever. I incite people to make their self-portraits. I see myself as their walking photo booth.

If someone wants to make very, very original music that no one has ever heard before, you shouldn't know anything about music. It just narrows you down, you know?

I write in a very strange way. Things are very fragmentary for a very long time, and then they come together very quickly near the end of the process.