Quotes of All Topics . Occasions . Authors
I myself am a huge Radiohead fan.
The piano is such a timeless instrument.
I literally work every day and weekends.
I always have a hard time describing myself.
I associate colors with music, or music with colors.
I always like to tweak things and push things forward.
As a film composer, you have to be a good collaborator.
I used to love American Westerns, growing up in Germany.
I love performing on my own scores. I do it quite a lot.
The tonality of the flute almost has a mystic element to me.
With 'Westworld,' the player piano plays a very important role.
I'm usually pretty good at remembering the melodies that I wrote.
What I love is that 'Game of Thrones' is always up for surprises.
I don't listen to film music at all. I don't want to be influenced.
There's so many great themes from the '80s: 'Magnum,' 'Miami Vice.'
When I work on my music, I always kind of just try to do my best work.
The piano is not really in the language of the 'Game of Thrones' score.
I actually enjoy the fantasy world quite a bit. You have no boundaries.
That's what I like: to kind of get up and start working right away in the morning.
It's always daunting to start from scratch, but it's exactly what I love about my job.
Deep down, classical Romantic music is what I love: Brahms, Tchaikovsky, the Romantics.
I've worked with Jonah Nolan on several projects. I really love collaborating with him.
The music I wrote as a kid already was always instrumental. It was never based on lyrics.
I feel choir just has a great sense of power when used with an orchestra, or even by itself.
Silence can be a very powerful tool. Sometimes it's more powerful to leave you with nothing.
I love getting time to write a piece of music that can settle in and set the tone of the show.
At the beginning of each project, I like to create a palette of sound for that particular project.
After high school, I moved to the U.S. and studied music in Boston, at the Berklee College of Music.
Performing was always something that I actually used to do before I settled in the studio as a composer.
I just always hear music in my head. I thought that was normal. My wife said, 'Ramin, that's not normal.'
There is an emotional aspect to live players that, no matter how good the samples are, you cannot replicate.
When I work on multiple projects, I'm really good at dividing my days, so I start in the morning with a clean slate.
When I grew up in the '80s, all of my favorite TV shows always had these great openings, and it always got me excited.
The piano has a huge dynamic range that almost no other instruments have. It can play very low, and it can play very high.
I wanted to play in bands and get signed by a record label and tour the world and stuff, but that never really worked out.
When you know you have great support from the studio, that's a great feeling, and when it's the creative support, that's great.
What's so cool about 'Light of the Seven' - and what I love about 'Game of Thrones' - is you never know what's going to happen.
I always really wanted to do film scoring, largely because I hate writing lyrics. I just won't do it. I need help with the words.
What I like about the piano is that it's a beautiful hybrid instrument in the sense that it can sound very warm but also very cold.
I think it's great to see that there is such a connection to film music and the way people react or connect to a character or scene.
'Game of Thrones' offers such a wide range of instruments that I use and stylistically for what I'm doing, but 'Westworld' is the same.
I love to do animation movies, and those might be some scores that are lesser known, unless you really kind of dig through my work and see.
What's so great with 'Game of Thrones' is that there are so many characters and they're so many locations and that it's just very inspiring.
When I write music, these colors pop out of me. It's hard to describe, but basically when I write music, I paint, and I add colors, and I add notes.
What I love with 'Game of Thrones' is, every season, I get to continue to develop the existing themes; every season, I also get to write new themes.
With 'Iron Man,' I have to give Jon Favreau great credit for the score because he always said, from the beginning, 'Tony Stark is a rock n' roll guy.'
Many times, the way I write my themes or melodies is that I hear it, and then I sing into my phone or something, or I'll scribble down on a piece of paper.
I started out on an apprenticeship in Hollywood working as an assistant to Hans Zimmer and another composer Klaus Badelt. That's how I got my foot in the door.
With 'Game of Thrones,' the most dominant instrument would definitely be the cello. That's something I just felt really captured the mood of the show very well.
I'm a very visual person when it comes to writing music. I like to see something besides just a script, even if it's just a storyboard or pictures from the set.