Quotes of All Topics . Occasions . Authors
I just write from dawn to dusk.
Music is never inherently funny!
I never thought the orchestra should be big.
You need to be in danger; otherwise, you get old.
Certainly 'Zero Dark Thirty' is not for children!
I've never been into monster movies, not my cup of tea.
In my early teens, I started collecting soundtrack albums.
When synthesizers appeared everyone was a composer suddenly.
It's not easy to write an understated score over a loud one.
Music has to deal with silence. Music has to deal with time.
The great directors, I've learned, have a great sense of rhythm.
Every director has his own syntax, his own grammar, his own words.
In 'Secret Life of Pets,' it's a huge orchestra - really, really big.
I always try to approach a film from the point of view of the director.
French horn can be very epic, and at the same time, very dark and moving.
For me, comic scores always have to have some melancholy in the background.
I played the piccolo in the 'Ides of March' and 'The Fantastic Mr. Fox' score.
We will always hear the vibrations of Ennio's music and feel it in our hearts.
I've always loved mixing Middle Eastern instruments into a classical orchestra.
My art is applied to another art which is cinema, that makes my life much easier.
The first thing is, you can't write movie music if you don't know how to write quickly.
When you compose, it's like writing. You're like a writer. You just think all the time.
I've always been a film lover - that's why I've always wanted to write music for films.
The goal is to make the music really a part of the skin of the film, and not be detached.
I think great scores have to be noticed, but they're wrong when you hear the music come in.
I've been pretty lucky to work with directors who were quite influenced by European cinema.
It's not about what's a good or bad score at the Oscars, rather what's exposed to the ears more.
I liked 'The Darjeeling Limited' very much. There was a melancholy about that film that I liked.
Every film is a human encounter. It's people trying to collaborate and create something together.
Well I think usually I would do six or even 10 scores a year. Some are big films and some are not.
When a theme is beautiful, it's a pleasure to rearrange it or to interweave it with your own music.
I just work 18 hours a day, every day. And I don't go on holidays. And so, I guess I will die young.
I'm not a script composer. I'm a film composer and my brain is excited by images and moving elements.
Godzilla' took two months because it required a two-hour-plus score. 'Imitation Game' was three weeks.
Music for films allow a great deal of diversity and the more you widen your skills, the better you become.
To this day, I still travel with scores. Every time I'm on a plane - it could be Stravinsky or Mozart or Ravel.
I never dreamed of writing for concert or opera. I always dreamed, if I was a composer, to write music for films.
Music can make you go from sadness to an immense sadness. There is a limit; if you go too far, it becomes schmaltzy.
There's a quality to the sound of a trumpet that you can really twist for any kind of sound and mood that you want to create.
My parents had a lot of movie soundtracks that they brought back from the States. So very early on I heard film music at home.
I'm a flutist so I know what they can deliver in terms of texture and sound and blurriness and softness. It's a very soft instrument.
You do movies because you love movies and you write music because you love writing music, and sometimes there's this magic combination.
That's the main lesson I've learned from working in the theater: respect the dramaturgy. I don't want to overwhelm everything with music.
Musicals are made of several climaxes that keep growing and growing; when you think it's over, it still continues growing up in plateaus.
When you have the chance to work with Wes Anderson, with Stephen Frears and Chris Weitz and Roman Polanski and Terrance Malick you don't say no.
There are some moments in your life and in your career when you meet a movie and the director that suddenly just turns you to another dimension.
Some films that I love, I love them also because of the music. 'Vertigo,' for example, is a movie where the music is doing 70 percent of the job.
I have no favorite museum, but it could be the National Gallery in London; it could be the Palais de Tokyo in Paris. Every city has a great museum.
Argo' was a very exciting project for me because I knew that I could mix together influences from my youth as a young musician and a young composer.
If you're a director and you pay homage to Japan, you're definitely going to remember what you've learned from watching the Japanese masters' films.