Quotes of All Topics . Occasions . Authors
If I've made money from music, it was never my aim to do that. I didn't do it to become famous.
When I came back to America, I realized that world music is no joke, it really has a lot to it.
Pop music is a fashion, and fashions come and go. The public retires you as their tastes change.
I am merely a conduit, a kind of big hairy tool. I am just a plastic funnel connected to a Moog.
I'm used to working with the director and producer, and that's my relationship. It's very simple.
The very first game I worked on was for DreamWorks Interactive's 'The Lost World: Jurassic Park.'
If you listen to a score from beginning to end, you should envision the entire film in your head.
I think, if I had my choice, I would spend all my time in the studio writing, and creating music.
One of the things I was never thrilled about with 'Medal of Honor' was that it was non-stop music.
What came to me as a revelation was the use of rhythm in developing an overall structure in music.
All of the silent films had live music accompaniment, so it's actually a very rich period in music.
I don't personally see my work as being dark. What interests me is a balance between light and dark.
I almost never try to make the audience comfortable. I wouldn't want that if I were in the audience.
The more I know, the more I realise I don't know. And the more I realise I'll never truly understand.
Many film scores try to force an emotion into a story that inherently is not there in the first place.
My dad had a great record collection, which included some music from Mexico, and so I always loved it.
I wanted to make a classical piece that was actually designed to be a CD, not designed for performance.
Each film does bring a new set of personalities and it can turn out great or it can turn out not great.
I don't like to write any music to a script. Experience has taught me that's generally a waste of time.
I guess what I've learned is that there are no boundaries when it comes to imagination. It's limitless.
Sometimes people do things because they are sad or because they are upset or were hurt by other people.
I probably belong to a type of composer of songs who keeps thinking about melody... I am old fashioned.
I think very abstractly when I'm writing. Then, as the project moves on, it becomes more like sculpting.
I never like to conduct, quite honestly, because you have to be a bit of a dictator and it's exhausting.
Composers are in some ways the last frontier of musician that gets a paycheck for their musical services.
There was a perception that the emerging-market problems aren't over and concern that may Brazil devalue.
I have an uncle who was heavily involved in World War 2, so over the years, I've talked to him many times.
It's best to incorporate a broadly eclectic point of view, and let whatever moves you be your inspiration.
I like the fact that New York looks a bit backwards, toward the Old World, rather than resolutely forwards.
I loved working with Chris Nolan. I love working with Lawrence Kasdan. Dan Gilroy. Francis Lawrence I love.
I love Glenn Gould. Max Steiner. John Williams. Louis Prima. Benny Goodman. Miles Davis. John Philip Sousa.
Connection is what one is after in probably most media, but certainly in film, which is an immersive medium.
You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.
For me, the music is always speaking from the point of view of the characters. Rarely do you score an event.
It's really the sound of the voices, the sound of the words, the sound of the sound that we're interested in.
Any film which views the darker side of life, which is death with a sense of humor, is very much to my taste.
John Barry was the first film composer I was aware of. As a teenager I owned several of his Bond soundtracks.
Well, I decided earlier this year that I would run for president, and obviously I needed something to run on.
When you're working on a film, it's intense and it's very all-consuming. There's not something in particular.
Without my experiences on the likes of 'Lost' and 'Alias,' I don't know if I would have survived 'Rogue One.'
My dad gave me his camera, so I spent my childhood making movies with the kids in the neighborhood as actors.
I don't generally find myself listening to the music of a film unless there's something awfully wrong with it.
What I've noticed is that people who love what they do, regardless of what that might be, tend to live longer.
I think I've only done one horror movie, Psycho III. That was a walk in the park compared to a romantic comedy.
I grew up with so many different sounds, and 'Lost' allows me to express all of it, the melodic and the atonal.
The work I've done is the work I know, and the work I do is the work I don't know. I don't know what I'm doing.
I want a song that raises the hair on the back of my neck when I sing it live and I want to feel it every time.
I think there is quite a continuity over my 25 years of doing music, and I'm always trying to break away from it.
When you're starting out in this business, it's very easy to want to say yes to everything that's offered to you.
It's all about being flexible, and avoiding choices whenever possible. Choices suck, they are inherently limiting.