Quotes of All Topics . Occasions . Authors
Film has the potential of allowing me to explore my own ideas, which I find very attractive.
You're going to fail a few times, because that is the only time you actually learn something.
There's always a melody running around in my mind and my brain; and I'm really thankful for it.
I like expansive stuff that has a lot of space in it, like some of the early Pink Floyd albums.
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.
I worry about technical details - did I mix the cello half a decibel too high? Things like that.
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.
I had come from an orchestral background, but I didn't really have any orchestral pieces for film.
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.
As the seconds of our lives are ticking away, you have to realize that life needs to be an adventure.
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.
I'm homeless, in a funny way. My culture I think is completely rooted in German 19th century music I suppose.
A lot of the music editing job is communication and working out what a director really wants the music to be.
I have to give credit to Giorgio Moroder ; among the first to make us realize the importance of music in film.
As opposed to being on the Internet, there's something really nice about reading a book or talking to authors.
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.
What's unique about transportation is that it's the one function that repeats itself throughout the supply chain.
I don't really have a preferred genre. It's more up to the individual project itself and if I feel compelled by it.
Music can make you go from sadness to an immense sadness. There is a limit; if you go too far, it becomes schmaltzy.
I've spent my life trying to make things simpler. Because I find ultimately that complicated doesn't reach the heart.
I get all my good ideas sort of at one o' clock in the morning, and I tried for a while to behave like normal people.
I think the only thing that I really haven't done much in, and I haven't felt too attracted to, is romantic comedies.
Trust me, if you're working on a $70 million movie and you're the last guy, you feel all that weight on your shoulders.
I have to admit that I really don't care for horror movies all that much. I think mainly just because I'm a cheap scare.
I always try not to overload my music with orchestration and to use only those instruments that are absolutely necessary.
Never let your wife prevent you from buying equipment. A car will not buy a synthesizer, but a synthesizer can buy a car.
You can only make a good noise on the guitar if you're committed. Little careful noise doesn't work. You have to be bold.
If it's a real bad score, then it can ruin a movie for me, or, at least, it will draw a lot of my attention to the score.
When I was 13, when I was 14, when I was in England, yeah all I wanted to do was go and see The Who, go and see The Stones.
'The Homesman' is my third collaboration with Tommy Lee Jones as director, and each time, I am aware of how fortunate I am.
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.
Every one of us has a response of some kind to music, so I don't think it's fair to ever judge what is proper and what's not.
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.
'The Graduate' must be the best use of songs ever in a movie; it adds a layer to the movie you wouldn't ever get from a score.
Robert Townson at Varese is a huge fan of film music and has really done a lot to educate audiences about film music and scores.
Being a man of faith, what was so interesting to me was the subject, which started, by the way, with Anne Rice's wonderful books.
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.
I sort of enjoy being able to hear what other composers are doing and how they might score something differently than me. I enjoy that part.
When I think of Morricone, more than his using a specific instrument or a specific sound, it's his way of approaching music that sticks out.
I've never had a real job in my life. I didn't learn anything, I was terrible at school. It was just this thing. Music was all I wanted to do.
'Snowpiercer' is a little bit more experimental, I think, and crafted for a slightly different audience. 'The Giver' is more about teen angst.