Jim Coleman Quotes (42 Quotes)

It's had a tremendous impact. It's going to have a larger impact on the citizens. Most don't work here. They have to travel at least 20 miles...a tremendous impact on them.

I really enjoyed playing live with Cop.

FIL basically showed me that I didn't want to be doing a rock and roll band in the way in which I had been doing a rock and roll band.

I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.

In scoring, I usually start with a sound or group of sounds, searching out what feels right.

Basically, I just try to keep myself from getting bored, but in doing so, at times I'm going out on a limb, not being sure how things will work.

Also, differences of opinion can be creatively stimulating as well as frustrating.

Unfortunately, however, I have too many desires to make a good Buddhist.

So, through playing with Cop I realized that there is a potentially interested audience out in the world.

I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.

But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.

I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble with the police at some truck stop on 95 in Connecticut.

I guess that I am more interested in shifting moods and atmospheres than song structure, but it isn't something that I sit down and plan out.

I think September 11th showed very dramatically how first responders are absolutely necessary in a community.

I'm just like you, only I'm different because I'm me.

First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.

But things can happen in a band, or any type of collaboration, that would not otherwise happen.

It's a great club. When you get a group of people together working on a project the sum is always greater than the parts.

As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.

I grew up outside of DC, New York state, and Connecticut.

If the finest hour is now, then I'll always be in it.

When you're being generous to your fellow citizen, please don't leave behind your neighbors.

And I don't know where I'm heading. I mean, I've got a pretty good idea of what I want in life.

I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have both ways of working in my life.

For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.

And when that's working, the sum can be greater than the parts.

But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.

But in my college years it got to the point where my friends and I didn't do anything without consuming a massive amount of alcohol before we went anywhere or did anything, and you know that.

And I definitely have an affinity with the piano.

I'm energized by it. I've had the opportunity to see the community and its needs.

I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward.

It can only be good news that parents want to play a bigger part in the sex education of their children.

I've had a lot of highs in my life and a lot of lows, some pivotal experiences, and in ways I feel like I've already lived a couple of lives.

When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.

Then I took 8 years of French Horn, first jazz, and then classical.

We started on this about two years ago. Theres no question that this has taken a long time.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

I'm from all over the Northeast.

Yes, I was forced to take piano lessons for 8 years as a child.

And I think that I'd be a natural for scoring horror movies.

With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.

Born in Baltimore, I lived there 1 month.