Edward Burns Quotes
Edward Burns presents thoughtful reflections on music theory and cognition that feel like a calm classroom chat.
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'The most likely reason for the adoption of a relatively small number of discrete intervals as the tonal material for music is that discretization or categorization is a typical, if not universal, strategy used by animals in order to reduce information overload and facilitate processing when subjected to the high-information-conetent signals and/or high information rates from a highly developed sensory system (e.g., Estes, 1972; Terhardt, 1991). An obvious example is the processing of speech information by humans, wherein each language selects a relatively small portion of the available timbral-differences that can be produced by the vocal tract as information-carrying units (phonemes) in the language. A related reason for discrete scales, and another obvious analogy with speech perception, lies in the social aspect of music. Music first developed as, and still largely remains, a social phenomenon associated with religious or other rituals that, like language, necessitated an easily remembered common framework.'
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There has been a great proliferation of lawyers in the pat 20 years, just as there has been a proliferation of computers. But unlike computers, lawyers do not get twice as intelligent and half as expensive every two years.
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I feel Irish-Americans are the forgotten minority group. Nobody else is making films about them.
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Look: You're not gonna become a millionaire doing this, but that was never the point. And I think a lot of people in the indie film business kind of took their eye off of that.
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Spielberg gave us three takes before saying anything to us. Since then, I do that, three takes, to let the actors find their rhythm.
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It's an enormous wall that's built between you and your dreams. And if every day, you just chip away... It may take ten years, but eventually you just might see some light.
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Quite honestly, it's too tough to get your movies made and then also to get out there and sell them.
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When you work with a DeNiro or Hoffman, they love what they do so much that there's never any competitive vibe. It's more about how do we do this thing together.
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That's my advice for indie filmmakers: Marry a supermodel.
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I try not to be too plot-heavy and to balance the dramatic with the comedic.
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When I was 25 years old and had no money - and didn't know how to make movies and had no experience - I was able to get $25,000 together, and that film was 'The Brothers McMullen.'
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The stigma of the straight-to-DVD thing is over.
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I suffer from Irish-Catholic guilt. Guilt is a good reality check. It keeps that ‘do what makes you happy’ thing in check.