My goal as an actor is always to be as truthful as possible, and to find the truth in the material I am representing. So I think that it’s the same with performing music. But in a way, performing your own music, it’s easier to find the truth in it, because it’s coming from yourself. There’s no translation needed.
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As quoted in "On Record : Zooey Deschanel of She & Him" at American Songwriter (18 March 2010)Zooey Deschanel
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It is my profound wish that this entire collection shall be devoted to the advancement of fine music for the continued enjoyment of music enthusiasts throughout the United States, be they students of the arts, performing artists, or members of that vast audience of music lovers among the American public.
Leopold Stokowski
You cannot find truth through anybody else. How can you? Surely, truth is not something static; it has no fixed abode; it is not an end, a goal. On the contrary, it is living, dynamic, alert, alive. How can it be an end? If truth is a fixed point, it is no longer truth; it is then a mere opinion. Sir, truth is the unknown, and a mind that is seeking truth will never find it. For mind is made up of the known; it is the result of the past, the outcome of time — which you can observe for yourself. Mind is the instrument of the known; hence it cannot find the unknown; it can only move from the known to the known. When the mind seeks truth, the truth it has read about in books, that "truth" is self-projected, for then the mind is merely in pursuit of the known, a more satisfactory known than the previous one. When the mind seeks truth, it is seeking its own self-projection, not truth. After all, an ideal is self-projected; it is fictitious, unreal. What is real is what is, not the opposite. But a mind that is seeking reality, seeking God, is seeking the known. When you think of God, your God is the projection of your own thought, the result of social influences. You can think only of the known; you cannot think of the unknown, you cannot concentrate on truth. The moment you think of the unknown, it is merely the self-projected known. So, God or truth cannot be thought about. If you think about it, it is not truth. Truth cannot be sought; it comes to you. You can go after only what is known. When the mind is not tortured by the known, by the effects of the known, then only can truth reveal itself. Truth is in every leaf, every tear; it is to be known from moment to moment. No one can lead you to truth; and if anyone leads you, it can only be to the known.
Jiddu Krishnamurti
His philosophy of Satyagraha is both a personal and a social struggle to realize the Truth, which he identifies as God, the Absolute Morality. He seeks this Truth, not in isolation, self-centeredly, but with the people. He said, "I want to find God, and because I want to find God, I have to find God along with other people. I don't believe I can find God alone. If I did, I would be running to the Himalayas to find God in some cave there. But since I believe that nobody can find God alone, I have to work with people. I have to take them with me. Alone I can't come to Him."
Nelson Mandela
It's nice to think about the Golden Age of Hollywood, with the big studios and their fabulous music departments and the hundreds of films coming out every year. But it's gone. In some ways the composer today is more fortunate, provided he can find a good film, because he can attempt more than he could two decades ago. Twelve-tone music was unheard of during Max Steiner's heyday, as were any other avant-garde techniques. Finally, the future of film music rests with the composers themselves. lf they take their work seriously and turn out the best that is within them, then perhaps we can persuade not only the public, but the filmmakers that good music is valuable in films. The public is not stupid. If our music survives, which I have no doubt it will, then it will be because it is good.
Jerry Goldsmith
Music has to do with sounds, so we need to find them somewhere and it is preferred to find musical ones. You have two sources for sounds: noises, which always tell you something — a door cracking, a dog barking, the thunder, the storm; and then you have instruments. An instrument tells you, 'la-la-la-la.' Music has to find a passage between noises and instruments. It has to escape. It has to find a compromise and an evasion at the same time; something that would not be dramatic because that has no interest to us, but something that would be more interesting than sounds like Do-Re-Mi-Fa...
Pierre Schaeffer
Deschanel, Zooey
Deschner, Karlheinz
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