Quote

I'm up for a massive, bombastic tour with hydraulics, robots, lasers, 15 costume changes, projecting on a power station, big impact, big visuals. I'd love to realize the theatricality of the whole thing. To be overwhelming, to surprise you, maybe to play in hidden spaces.

Anna Meredith

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Anna Meredith
Age: 46
Born: 1978
Born: January 12
Composer
Musician
London
England
Space
Hidden
Spaces
Bigs
Massive
Robots
Power
Surprise
Costumes
Play
Impact
Station
Theatricality
Whole
Changes
Tour
Bombastic
Thing
Realize
Visuals
Lasers
Love
Realizing
Stations
Projecting
Maybe
Overwhelming
Costume

More quotes by Anna Meredith

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I try to listen to stuff that makes me happy for other reasons, rather than being musically inspiring.
Anna Meredith
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I had thought everyone in the electronic world would be so laid back, but there's as many cliques and prejudices as any other world.
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I've never been really interested in music, classical or otherwise, where the craft is more important than the result. I realized quickly that I'd never be a technical electronic musician.
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I feel happier knowing a starting point came from me. And I like stuff that gives you a physical reaction.
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Other friends have said, I don't understand why you've used this trumpet-style sound rather than a real one when you know you can write for trumpet. But it's most important to get the energy right.
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Quite often, when I describe to people what I want, I'll say overwhelming - I want it to feel like it's phy
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I want to become less and less about the laptop. That's what's lovely about an orchestra - the physicality, the way every gesture relates to something you're hearing.
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It's the balance between wanting the power of electronics and having something real happening - if you want people to engage in what you're doing, I think that's important. I want to have fun with people, but that's hard to do with a laptop.
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There's something strange about a laptop, how you can make the tiniest gesture and make the biggest sound. I don't feel I've resolved working a sense of performance into a piece yet.
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If I'm feeling confident, then I write confident, happy, or assured music. I can hear some early electronic sketches I did where I'm clearly not confident and everything's a bit mid-range, nothing really pushes through.
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Performances are so defined by their venues - it'd be nice for the music to dictate more of the reaction.
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With the classical stuff, I've always been better at the big brushstrokes and broad textures than spending ages honing a chord, or tweaking a sample.
Anna Meredith