Quotes of All Topics . Occasions . Authors
I think of each movie as a puzzle. The fun is in solving the puzzle: finding a musical identity for the picture, however that can be summed up.
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.
Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.
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.
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.
It's very hard to understand what's happening in someone's brain and what goes into their experience and their death, and the music has to say a lot.
I think one of the things which always is forgotten in music class, is the first thing you have to do as a musician is you have to learn how to listen.
If something happened where I couldnt write music anymore, it would kill me. Its not just a job. Its not just a hobby. Its why I get up in the morning.
I'm scared each time I start a movie, believe me. There's always a moment of panic when you're not sure if you're going to be able to meet the deadline.
Growing up in Poland, I didn't have the experience of going to Disneyland as a child, so I don't have any childhood memories connected to it, good or bad.
I know 'Valerian' didn't do very well in America, but I think it's because of the lack of knowledge of these graphic novels which came out in the mid-60s.
Fear is one of those really primal emotions which you don't want to have incredibly exciting modulations and complex harmonies and all that kind of stuff.
If something happened where I couldn't write music anymore, it would kill me. It's not just a job. It's not just a hobby. It's why I get up in the morning.
I've scored all the movies that Jacques Audiard has directed. It's a long love story between us, trying to find a voice that would belong to his films only.
The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.
It's true, most of my days are spent alone in a dark room! I don't really want anyone to see me trying and failing to nail the 40th take of a simple piano cue.
I'm being offered great movies by great directors and that's what I love, that's what I've dreamed to do, and that's what I do all day long. So I have to do it.
Mozart for me is the No. 1 composer. His music is not just joy or sadness. It's deep emotion with a touch of lightness, which is the most difficult thing to do.
If I wanted an open space, I could do a documentary about fishes. Then I would have an open space to play my music. That's not how I visualize the work I'm doing.
I've loved Japanese culture for a long, long time, from doing martial arts, to the block prints, to the music. It's a country that I love, and a culture that I love.
In a time when directors did not fear composers with a strong voice, Morricone wrote scores like operas or symphonies, with passion, scope, bravura and intelligence.
I started out coming from more of a concert music background. It just turns out that 20th-century music techniques lend themselves to scary movies and horror movies.
I go into the whole composer thing quite open to keep on going and keep on trying different things because you never know... the next idea you have might be the one.
When you work on animation, the music has a great task: to create a sound and melodies and mood and atmosphere and energy dedicated to these extraordinary characters.
My education as a film composer, you can't not - if you like the orchestra like I do, if you are a symphonist like I am - you can't not listen to John Williams' work.
I usually like to introduce the film and the music with the opening titles. It's a great help for a composer to bring the audience into the work that we're going into.
The lack of education means, the lack of having something I can pull out of a drawer, means I have to find something in any movie I work on that is intensely personal.
I've been very lucky early on to be surrounded when I was a child by music from various countries. My parents would listen to a lot of music coming from other universes.
When I was 15, I was not living with my parents anymore. They were on an island in the Caribbean and I was back in Paris, where I lived with my sisters between 15 and 19.
My training in music has been very eclectic - as first a flute player from classical chamber music to jazz, Greek, Brazilian and African music to contemporary concert music.
I don't like the word "experiment" in the context of art in general. It implies something immature, unfinished, something entertaining for a moment before it becomes irrelevant.
I don't like the word 'experiment' in the context of art in general. It implies something immature, unfinished, something entertaining for a moment before it becomes irrelevant.
For me, I work very self-contained. It's literally just me sitting in a room doing it until the very end of the process when other musicians come in and instruments are recorded.
You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.
I really am a firm believer that if you're going to do something musically, you really need to know what that music would have sounded like, what those instruments would have been.
It's a funny thing with the inspiration thing. There's always loads of music around that I absolutely love and films going back to when I started making film music in the mid-80's.
I don't think I would deliver the best work if I would do several projects at the same time. So it's one at a time, but I work a lot. I work nonstop actually, but that's what I like.
What's the point of getting up in the morning unless you're gonna have an adventure? As the moments of our life are ticking away you have to be aware that it needs to be an adventure
There's a power that movies and music has, that can move you and motivate you to look at your neighbor in a slightly more respectful way, and look at cultures in a more inclusive way.
I like taking my leads from what I see rather than trying to impose. I like that way of looking at things and seeing what's on screen and seeing how I can draw music out of it almost.
I don't know if I would write an opera, maybe because of the words. But yes, I would be really excited to do it. I would certainly write a ballet or... I've done a lot of stage before.
I want to go and write music that announces to you that you can feel something. I don’t want to tell you what to feel, but I just want you to have the possibility of feeling something.
I think after everything in the whole process of filmmaking, temp scores are great if you use them for what they're good for, if you use them for that early stage of support for things.
One of the major aspects of film composing is that it's not so much a musical thing as it is communicating your ideas with the director, who often does not come from a musical background.
I'm a guitarist by background. That's what I used to do for sessions when I was younger and that sort of thing. We have several pianos in the house and I tend to just sit and fiddle around.
I tend to work in layers. There's a huge orchestra in the film, but I also record a lot things with very intimate groups, and I like to be able to use the textures of those intimate groups.
With animated film, you have to create the sonic world; there's nothing there. You get to color things in more and you're allowed to overreach yourself a little bit more, and it's great fun.