Quotes of All Topics . Occasions . Authors
The hardest thing about traveling is that mostly you get to a point - and it always happens on every tour - where you can choose between eating and sleeping, but you can't do both.
I was just trying to fit in to the stereotype American dream, exactly what my parents and everyone expected of me, i met someone who's -- who's awesome, you know, we got along good.
The inconvenience, the glaring lights, the long hours of waiting, and the repetition of every scene are all calculated to defeat anything more than a real mastery of love technique.
As a teenager and a young adult, I never felt like my own story was interesting enough to tell, so I always wrote lyrics from someone else's perspective - told someone else's story.
I don't want to be typecast as the 'ambient guy' or someone who only does electronic scores. I think most of the work that comes my way is because people feel they know me musically.
On 'Lost,' I write a score and orchestrate it on days one and two; I record it on day three. In animation and film and videogames, you have a little more time to work things through.
On Being John Malkovich and the cinema of the absurd, I do enjoy it. I wish there were more like it. The very fact that there can't be more like it is one of the reasons it's admirable.
I like to read and dream and create music that is based on the imagery of text. If you have the combination of a great book and a great filmmaker, what could be better for the composer?
That's what keeps me going: those moments of solving a problem, of what happens to a movie when the right music is added - and what happens to the music when the movie's working with it.
Something different happened to me when I started to write music to images. It was a feeling of excitement and connection and a sense of being in the right place that I never had before.
I spent my entire life working with the smallest budget I could get. Just working with old, junky, donated equipment. The only things I bought myself were the trumpet and the $9 ukulele.
I would say, generally speaking, though it is not always the case, comedy is probably the least gratifying for most composers because it is more specific about what the music needs to do.
I'm a fanatic about Irish music. I love its moody, modal and timeless quality. I'm different from some other composers, because I don't look at this as just a job. I think of music as art.
Often when I find myself listening to music, at least 60 to 70% of it is foreign, so I don't understand a word of it. Melody to me will always be a million times more important than words.
I think that within the world of music that we work in, which is so not perfect, I think that you really do have to learn to accept your own mistakes as part of the beauty of music itself.
I feel the first ten years of my career I really didn't care what the director said because I felt so arrogant. I was so certain about what should happen. But then I became a good listener.
Conducting, I tried it once off the cuff, and quickly realized there were subtle aspects that I was missing. There is a lot more to it that I was able to grasp simply by watching conductors.
I was in the Chilli Peppers at the time and I asked myself, would I be able to wear a sock on my genitals at the age of forty and they proved me wrong because I guess they're still doing it.
It is very gratifying to see the music from 'The Lord of the Rings' trilogy find a new life on the concert stage as it is performed by different orchestras and choruses throughout the world.
Soon I worked during twelve years in theater works of the prestigious Theatre National Populaire. It was the best time of my life, the most difficult, the most interesting, the most exciting.
I always want to write erotic music... Not only about the love between men and women, but in a much more universal sense - about the sensuality of the mechanism of the universe... about life.
Usually one or two things happen: Either you have an idea straightaway - the sort of sound that you want or the instrumentation or one particular sound that you want to feature - or you don't.
Hopefully each film can be given a musical voice of its own, which is not to say that the instrumentation is always unique, but that the relationship between the sound and the image is unique.
I think once a year it's good to look back at the history of Oscar and to embrace the great work that everybody's done this year and set it in place to the great work that's gone on before us.
Nowadays, if a studio assumes that his film is bad, there is always an executive that gets more nervous than usual and thinks that if they change the music, the film will become a masterpiece.
I was fortunate enough in my public school that they had a full music program, and no one escaped it. It was treated as a subject that was as important as everything else, and I believe it is.
You know, nobody eats in England. three or four pints of english beer a night fills you. i can’t say i’m very impressed with the food in America. it’s all sort of bland. like turkey sandwiches.
You know, nobody eats in England. Three or four pints of English beer a night fills you. I can't say I'm very impressed with the food in America. it's all sort of bland. Like turkey sandwiches.
Television, they say, will permit a person to be entertained at home, without the effort of going to a picture house, without the trouble of booking seats, without the presence of other people.
I'm kind of an antisocial person. I realised when I was playing in bands that I wasn't that comfortable being on-stage, and I preferred to be behind-the-scenes. I like the seclusion of composing.
I find that musically, looking back, I have learned much more from those relationships, people I have bumped into that I have admired, that's the way I feel musically I have learned most in life.
I was always looking outside of myself for stories and ideas and influences and then I kind of realized in 2010, that all of this time, I've developed a "sound." And I've never fully explored it.
Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.
The colors of 'The Nutcracker' ballet score have become a part of the vocabulary of film music. It's where so much of the 19th-century romantic music that I call upon as a film composer is rooted.
I think that the great part of creativity is overcoming fear. Fear is a given. When you sit down and have to begin something, don't be afraid to be filled with fear, because it goes with the turf.
Notes are part of life for any composer for hire. There's no way around it. I think anyone who has done even a small number of films as a professional composer gets used to that idea pretty quickly.
I've been writing music since I was 9. I took harmony and counterpoint classes when I was studying the clarinet. So, I've been writing for an awfully long time. It just became part of everyday life.
The Olympics are a wonderful metaphor for world cooperation, the kind of international competition that's wholesome and healthy, an interplay between countries that represents the best in all of us.
Some kids, for some reason, it just doesn't click in the classroom as they need it to. We have college coaches talk to them, former high school athletes, motivational speakers, teachers, principals.
Most films I work on, the people making the film are constantly second-guessing the executives of the studio, the producer, and the audience. It is very hard to accomplish anything in that situation.
There have been several movies that I've done over the years that have got a bad shake - 'Speed Racer' was one of them. I loved that movie, and the fact it got such a bad reception was disheartening.
When I was growing up, every show had live music. Now, almost none have live music. Probably 97 percent of the shows on television are probably synthesized, or mostly synthesized, and that's a shame.
I'm interested in what happens to music when other people use it. Whereas there are composers who don't like anyone to touch their music, I think people should because they do things I can't think of.
For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.
I think that's the reality of the business. It's not about what you did. It's what have you done for me lately. We're in the production business. What you did before is irrelevant. Everyone knows that.
I started out as a producer. and I used to work at Disney. and I worked with a lot of the animators and went on to become great friends with a lot of these guys and worked on a lot of projects together.
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
I think people hire me for the slightly weird angle that I bring. Part of the trick is keeping it sort of simple; you have to give the impression of not that much music playing when there's really a lot.
I think Mozart, with all his impatience in writing, would have loved it. It would have allowed him to write twice as much. He would have loved a Mac. If he'd had a laptop, he would have been unstoppable.
When you see 'Lord of the Rings,' you want to feel like you've been dropped into it and that you're part of it. You don't want to be aware of how it's being done; you just want it to feel really seamless.