“Inaudible melodies
Serve narrational strategies
Unobtrusive tones
Help to notice nothing but the zone
Of visual relevancy
Frame-lines tell me what to see
Chopping like an axe
Or maybe Eisenstein should just relax”

“Let me tell you something. A man ain’t a goddamn ax. Chopping, hacking, busting every goddamn minute of the day. Things get to him. Things he can’t chop down because they’re inside.”

“Give me six hours to chop down a tree and I will spend the first four sharpening the axe.”

“The frame [is no longer as in the beginning version] is in a harmony opposed to those of the tones, tints, and lines of the [motif of the] picture.”

“While the things I do kill me, they just tell me to relax”

“I like beautiful melodies telling me terrible things.”

“The absolutely inaudible is rejected from music during the period of Viennese Classicism in which every musical line is potentially or imaginatively audible, but it makes a dramatic reappearance in the music of Schumann. The most striking of many examples is one of the episodes in the Humoresk, the last of the great piano works of Schumann's early years. … There are three staves: the uppermost for the right hand; the lowest for the left; the middle, which contains the melody, is not to be played. Note that the melody is no more to be imagined as a specific sound than it is to be played: nothing tells us that the melody is to be heard as vocal or instrumental. This melody, however, is embodied in the upper and lower parts as a kind of after-resonance-out of phase, delicate, and shadowy.”

“Cries for help are frequently inaudible.”

“If his voice hasn't been the melody of my life, it's been the bass line, so subtle you don't notice it until it's missing.”

“Don’t play that game with me, Acheron. Tell me what I need to know! (Xypher)
Nice tone. We should rent you out to record Halloween albums. (Acheron)”