Composers From The United States

"There has been over a decade of work worldwide in Darwinian approaches to generating software, and... nothing has arisen from the work that would make software in general any better."

"If anything, there's a reverse Moore's Law observable in software: As processors become faster and memory becomes cheaper, software becomes correspondingly slower and more bloated, using up all available resources."

"Software breaks before it bends, so it demands perfection in a universe that prefers statistics."

"People are demonstrably insane when it comes to assessing human sentience."

"We should treat computers as fancy telephones, whose purpose is to connect people. Information is alienated experience. Information is not something that exists. Indeed, computers don't really exist, exactly; they're only subject to human interpretation. This is a strong primary humanism I am promoting. As long as we remember that we ourselves are the source of our value, our creativity, our sense of reality, then all of our work with computers will be worthwhile and beautiful."

"I'm hoping the reader can see that artificial intelligence is better understood as a belief system than as a technology."

"The quest to rationally prove the possibility of sentience in a computer (or perhaps in the Internet) is the modern version of proving God's existence. ...eventually a cybernetically minded twenty-first century version of Kant will appear in order to present a tedious "proof" that such adventures are futile."

"Evolution has never found a way to be any speed but very slow."

"The problem is that in every example we know, a layer that can change fast also can't change very much."

"The great thing about crummy software is the amount of employment it generates."

"Three coins in a fountain Each one seeking happiness Thrown by three hopeful lovers Which one will the fountain bless?"

"When somebody loves you It's no good unless he loves you - all the way Happy to be near you When you need someone to cheer you - all the way."

"I fall in love too easily I fall in love too fast I fall in love too terribly hard For love to ever last My heart should be well-schooled Cause I've been fooled in the past But still I fall in love so easily I fall in love too fast"

"Just what makes that little old ant Think he’ll move that rubber tree plant? Anyone knows an ant, can’t Move a rubber tree plant. But he’s got high hopes, he’s got high hopes He’s got high apple pie, in the sky hopes."

"It seems to me I've heard that song before. It's from an old familiar score. I know it well, that melody."

"Till you're walking beside me, I'll walk alone."

"Call me irresponsible Yes, I'm unreliable But it's undeniably true That I'm irresponsibly mad for you."

"Collaboration is being open to each other's ideas and benefiting from each other's perspectives in an open way. Collaboration is all about rewriting and rewriting and rewriting and helping each other to constantly improve a piece. And, it's also about spurring each other on to doing great, hard work — it's easier to do it in a collaboration than on your own."

"On behalf of Howard, I know if he were here he would want to thank Angela Lansbury for her incomparable performance of the song in the movie as "Mrs. Potts," and also Celine Dion and Peabo Bryson for their performance. Also thanks to Walter A. and Robbie Buchanan for their work on the single. And accepting for Howard will be Bill Lauch. (Bill Lauch: Thanks, Alan. Howard and I shared a home and a life together and I'm very happy and very proud to accept this for him. But it is bittersweet. This is the first Academy Award given to someone we've lost to AIDS. In working on "Beauty and the Beast" Howard faced incredible personal challenges but always gave his best. And what made that possible was an atmosphere of understanding, love and support. That's something everyone facing AIDS not only needs, but deserves. There's an inscription at Howard's grave in Baltimore. It reads, "O, that he had one more song to sing." We'll never hear that song, but I'm deeply grateful for this tribute you've given to what he left behind. For Howard, I thank you.)"

"(Tim Rice: Thank you very much. I'd like to thank everybody in the Academy who voted for me, especially Alan. And I'd like to pay tribute to two great lyricists. One, of course, is Howard Ashman. I'm extremely lucky to be standing in his shoes. I know he'd be here today if he were still alive. And the other is the great Sammy Cahn, who is my inspiration for many years. And it's great to be working with Alan, and my thanks to everybody at Disney.) A couple of thanks. Thanks to Lea Salonga and Brad Kane, and thanks to Peabo Bryson and Regina Belle. And of course Walter Afanasieff and Robert Buchanan, for creating a beautiful record. And thank you, Chris Montan, for never giving up on this song. Thank you."

"I've been very fortunate to work with a studio like Disney that really values music. And that attitude starts at the top, and I want to thank Jeffrey Katzenberg and Roy Disney and Michael Eisner for making my work possible. "Aladdin" was a major transition for me from my longtime collaborator and friend Howard Ashman to a new role and new songwriting partner in Tim Rice. As always I was blessed with great support from my music team: Danny Troob and David Friedman, from Chris Montan and Andy Hill, Bruce Botnick, Michael Farrow and Kathy Bennett. From Peter Schneider, John Musker, Ron Clements, Amy Pell and Don Ernst. I owe a debt of thanks to all of them and to the brilliant animators, musicians, singers and actors who made "Aladdin" so spectacular and magical. Scott Shukat, my family, my wife Janis, and Anna and Nora, my love and thanks. And to the members of the Academy, thank you very, very much."

"On behalf of all the composers I want to thank Debbie Allen for that [referring to the production number]. That was just great. I'd like to thank the members of the Academy, in particular the members of the Music Branch, for this honor. At Disney I want to thank Jeffrey Katzenberg, Roy Disney, Peter Schneider, our producer Don Hahn, our directors Kirk Wise and Gary Trousdale, and our brilliant animators. And I can't say enough about my music team. My orchestrator Danny Troob, conductor David Friedman, recording engineers John Richards, Michael Farrow, Bruce Botnick. Many thanks to the Disney music department, Chris Montan, Andy Hill. My music editor Kathy Bennett. My love and thanks to Janis, Anna and Nora. My mom and dad. My manager Scott Shukat. And most of all, I thank my late partner and friend, Howard Ashman. Howard, I wish you could have seen the finished product. I wish you could have heard the completed score. I know you would have been proud. Thank you."

"Having a tradition is a great thing to work within, and maybe today [it] is the only way to land musically dramatic work."

"First of all I'd like to thank my collaborator Howard Ashman who encouraged me to take the opportunity to compose my first film score with "The Little Mermaid." Thank you for your support, Howard. I'd like to thank all the people at Disney: Jeffrey Katzenberg, Roy Disney, Peter Schneider and Maureen Donley. Our outstanding directors: John Musker, Ron Clements. And thanks to a great music department: my orchestrator Thomas Pasatieri, conductor J.A.C. ["Jack"] Redford, music editor Kathy Bennett, recording engineer John Richards, supervisors Chris Montan and Andy Hill. Special thanks to my manager Scott Shukat and my wife Janis. And Academy members, thank you."

"(Howard Ashman:I won't do fish jokes, just say a couple thank yous. At Disney to Jeff Katzenberg, Peter Schneider. To Sam Wright, who sang the song, all the words. Mostly though to John Musker and Ron Clements whose movie "Little Mermaid" really is. At William Morris there's Don Aslan, Mike Peretzian and my beloved Esther Sherman. And at home there's my mom, there's my sister, there's Nancy, and Bill. I feel really lucky. Thank you.) Thanks to the musical team that worked on the songs: Robby Merkin, Thomas Pasatieri, and J.A.C. ["Jack"] Redford in particular. Thank you. And thank you to the Academy."

"Well, a lot of time and effort and collaboration went into the score of "Pocahontas." I have a lot of people to thank and not a lot of time to thank them. So I want to thank my music team. My orchestrator Danny Troob, synth[?] arranger Martin Erskine, my music editor Kathy Bennett, engineer John Richards. My thanks to Chris Montan, Tod Cooper, our directors Mike Gabriel and Eric Goldberg, our producers, Jim Pentecost, my Disney family past and present. Time doesn't permit me to say all their names but I particularly want to thank Peter Schneider and Tom Schumacher and all the brilliant singers, musicians and technicians whose talents made "Pocahontas" sing. And thank you, Academy members."

"Well, thank you, Vanessa Williams, and thank you, Judy Kuhn, for your wonderful performances of the song, and Robbie Buchanan for a wonderful production of the single -- for arrangement of the single and Keith Sonnet for production. Stephen... (Stephen Schwartz: We want to express our appreciation to members of the Academy. Our deep gratitude to our colleagues at Disney, past and present. And I want to acknowledge my personal debt to the Native American poets and wisdom keepers who inspired my work on this project, most particularly in the case of this song, Chief Seattle. Thank you very much.)"

"Doctrine is the frame-work of life; it is the skeleton of truth, to be clothed and rounded out by the living graces of a holy life. It is only the lean creature whose bones become offensive."

"Sorrow is only one of the lower notes in the oratorio of our blessedness."

"A mightier love for the Son of God, to overpower and subdue and lead captive these wayward and truant affections of the natural heart — this is what is needed."

"You can do more than pray after you have prayed, but you cannot do more than pray until you have prayed."

"Looking back now toward the start You said you thought I'd lost my path And I asked if you still considered love an art And you said "No, I think it's more a craft" And I just turned and laughed I just had to turn and laugh."

"Venturing further than the length of your sight Out past the reach of your beginnings There is a gamble in each proud act of flight But the losses pale before the winnings Circling and diving with this freedom you’ve found Illusion blows apart and scatters There is no darkness in this place that we're bound Love is the only thing that matters"

"An only child alone and wild A cabinet maker's son. His hands were meant for different work And his heart was known to none -- He left his home and went his lone and solitary way And he gave to me a gift I know I never can repay."

"The leader of the band is tired And his eyes are growing old But his blood runs through my instrument And his song is in my soul -- My life has been a poor attempt To imitate the man. I'm just a living legacy To the leader of the band."

"We drank a toast to innocence We drank a toast to now. And tried to reach beyond the emptiness But neither one knew how."

"And it's run for the roses As fast as you can Your fate is delivered Your moment's at hand It's the chance of a lifetime In a lifetime of chance And it's high time you joined In the dance It's high time you joined In the dance."

"Gonna pull in the shutters on this heart of mine Roll up the carpets and pull in the blinds And retreat to the chambers that I left behind In hopes there still may be love left to find Still may be love left to find."

"Longer than there've been fishes in the ocean Higher than any bird ever flew. Longer than there've been stars up in the heavens, I've been in love with you."

"The beer was empty and our tongues were tired And running out of things to say. She gave a kiss to me as I got out And I watched her drive away.Just for a moment I was back at school And felt that old familiar pain And as I turned to make my way back home The snow turned into rain."

"Along the road your steps may stumble Your thoughts may start to stray But through it all a heart held humble Levels and lights your way."

"As the Raven Flies Lyrics I see the raven's made Her nest in your eyes She's got you thinking that Her love is a prize And you'll go under from The weight of her lies"

"Now the wind is still In a moment it will be raging Now my soul is young In a moment it will be aging And high above the pines I wrote several lines And left them in a bottle For you to find"

"I can see you in the distance And you're heading for a fall Sinking deeper by the minute You're about to lose it all... You better change Before the sun goes down You better leave Before you are the last in town You better raise Your fortresses or tear them down... Tear them down!"

"Someone's been telling you stories Someone's been telling you stories And they just ain't true No, they just ain't true They just ain't true Someone's been telling you stories]]."

"Dusty day dawning Three hours late Open the curtains And let the rest wait My mind goes running Three thousand miles east I may miss the harvest But I won't miss the feast... And it looks like you're gonna Have to see me again... Cause I've got a woman Who waits for me there And I need a breath of that Sweet country air"

"There's a place in the world For a gambler There's a burden that only he can bear... And he sees. Oh, yes he sees... There's a light in the depths Of your darkness There's a calm at the eye Of every storm There's a light in the depths Of your [[blindness|darkness}} Let it shine Oh, let it shine"

"She says no When she means yes And what she wants You know that I can't guess. When we want more You know we ask for less Such is the language of love..."

"Changing horses in the middle of a stream Gets you wet and sometimes cold"

"Too many hearts have been broken Failing to trust what they feel. But trust isn't something that's spoken And love's never wrong when it's real."