Film Music Quotes

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This collection holds 62 film music quotes, drawn from writers, leaders, artists and thinkers across the QuoteForever archive. The most quoted voices here are Ryuichi Sakamoto, Henry Mancini and A. R. Rahman.

They are ordered so that each author has a say before anyone repeats, which means the first page gives you the range of the topic rather than one writer's back catalogue.

Use the grid and list views to change how much of each quote you see, follow an author's name to read everything else they said, or open a quote on its own page to copy it, share it, or turn it into a picture quote.

I just called to say, 'I love you.

I'm pretty proud of my film music in general.

I like to write film music that stands on its own.

Film music, over the years, has taken from everybody.

I've always listened to a lot of film music, actually.

Beautiful film music can be made relevant to any period.

Film music has given me everything - career and popularity.

So film music is something I absolutely wanna get involved in.

Select only things to steal from that speak directly to your soul.

I'm constantly trying to introduce new voices in Tamil film music.

I don't listen to film music at all. I don't want to be influenced.

I want to do television, film, music and designing. I want to do it all!

I see a parallel industry for independent music blooming alongside film music.

When you're working on film music, you're only working on 20, 30-minute sections at a time.

Film music is always given a step-motherly treatment though it is the most popular form of music.

What makes film music different is that we are always given a situation and we make the song accordingly.

I always said when I was younger, I wanted to write film music, and I think that's what my ultimate dream is.

Hindi film music has always been completely driven by the plot. We singers never had any say in compositions.

I can't really say that film music inspired me; it is more the films themselves, in connection with the music.

I don't listen to Bollywood music much. But yes I listen to Indian music quite often and other non- film music.

For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.

To be honest, I hadn't realised the greatness of film music till I was exposed to film songs after I started living in Mumbai.

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.

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.

I'm not afraid of being thought of as someone who is associated with film music. Why not? If it's a good song, what does it matter?

I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.

Think about the number of people who do film music, make records and have a Native American heritage - and I may be the only one on the list.

In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.

There's a whole gamut of things to do with film music that don't apply when you're making a record or if you're writing a concert piece or something.

Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.

The consumption of information, films, music has been changing in recent decades. It's hard to know what will become the film that can not easily reach [audiences].

Just as I have broken the monopoly of film music as being synonymous with popular music in our country, I want to prove that cricket is not the only glamorous sport.

Fear is a problem with film music and films; people want to be conventional, and there's more commercialism today. If you are not daring in your art, you're bankrupt.

I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.

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.

Although I enjoyed writing Film Music it was always a means to an end, in that it enabled me to keep a wife and family and write my classical music, which has always been my passion.

With film music, endings are often more difficult than beginnings, because a beginning is an underline, a way of exciting a moment, and then you have to find a way to dissipate that.

When I visited Africa to make my film 'Music by Prudence,' I was struck by how intensely religious and socially conservative Africans were. There was literally a church on every corner.

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.

Electronic music lends itself to an abstract way of storytelling, so it keeps evolving. Theres a whole movement truly driving music further and there is no other music innovating as much as film music

When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.

Northeastern folk music influenced me from a very young age. Sachin Dev Burman is one of the inspirational musicians in Indian film music. The way he fused folk music with his signature style is amazing. So, I am aware of the beauty of northeast folk music.

It's fun to take songs from a completely different context and reframe them. We did two mixtape albums called 'Other People's Heartache' and 'Other People's Heartache Pt. 2,' which were full of those kind of covers and mash-ups, mixed with film music and film quotes.

My ambition, a long time ago, was to be a film music writer. A compromise then was to be the guy who wrote songs for a band and played slide guitar. Then the singer didn't turn up for an audition, and I was the only one who knew the words. That was it - bingo! Life took a different course.

I started doing Bollywood and film music, and now, it has come to a point where I've started to say no. I want to do my own music. I have been there and done that, so I am not there to achieve that any more. I just want to put my music out there, and if people listen it, okay; if they don't, then fine.

Music, that has mostly earned a 'film music' status in our country, leaves genres like jazz, folk and classical to the niche. But, something common ties all the genres of music, the skeleton of the sounds - the instruments. Instrumentalist in our country are not given their due, at least not as much as they deserve.

The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.

My audiences are generally mixed. Some people like techno, others are into the pop music, and others enjoy my film music.

Stravinsky influenced film music in general - those stabbing chords and rhythms from 'The Rite of Spring.'

I want young Indian composers to be able to do more than just film music. I want to give them the skills that will enable them to create their own palette of sounds instead of having to write formulaic music. It doesn't matter if they become sound engineers, producers, composers or performers - I want them to be as imaginative as they like.

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