With the new technology that keeps entering the media, film composers are constantly being placed in new learning situations. Acknowledging this and realizing that one must keep up, I maintain, nonetheless, that the real creative power is in the mind and heart of the composer.— Henry Mancini
Romantic Film Composers quotations
I'm not a frustrated concert composer, and the concert pieces I've done have been a small part of my work. What I've sought there is instruction, variation from the demands of film and relief from its restrictions.
A film just doesn't involve actors, a director and a producer, there is also the cameraman, the sound engineer, the music composer, the lyric writer. So many people come together to make a film. When we all feel satisfied with the film that we have created it's a win for all of us.
Film composing is a splendid discipline, and I recommend a course of it to all composition teachers whose pupils are apt to be dawdling in their ideas, or whose every bar is sacred and must not be cut or altered.
My best film composing experience was with Elia Kazan.
When you're working in the [film] industry and you're working with people who are well known and are so regarded, you do just pick up on things. Seeing the way that people hold themselves and compose themselves before a scene - it's inspirational.
I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
The art of making films is a collaborative art.
As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.
I had great inspiration from a Japanese composer named Toru Takemitsu.
He wrote over 90 film scores and a lot of concert music, a lot of classical music, and he gave me a lot of inspiration, as well as composers from other countries.
I'm a person of the arts. I love the arts very, very, very much. And ah, I'm a musician, I'm a director, I'm a writer, I'm a composer, I'm a producer, and I love the medium. I love film very, very much. I think it's the most expressive of all of the art mediums.
It all depends on the directors. Working closely with a director is the main job of a film composer. Interpreting what he perceives as a color, an emotion or mood is very abstract. A director tells you something he wants and then you have to run back...
There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!
The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted.
I have tremendous respect for film composers.
The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.
So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.
I always wanted to be a film composer.
So very early on I started collecting soundtracks and paying attention to how movie music works. Actually I'd like to have the opportunity to conduct for the rest of my life.
John Barry was the first film composer I was aware of.
As a teenager I owned several of his Bond soundtracks.
If I weren't a director, I would want to be a film composer.
I have a team, the same team of filmmakers I worked with on 'Pi' and 'Requiem'.
Which is my cameraman, and my composer, and my producer. We've all worked together for a number of films.
I think that being a film composer, someone that gets it and actually applies the music, it allows you to open up a spectrum of feeling. You're now allowed to approach the music from an audio visual perspective.
I can write songs, I've had songs in movies, but I can't compose film scores, you know?
Jerry Goldsmith is an artist who meets all the demands upon the composer in films. He communicates, integrates, subordinates, supports, and designs with discipline.
I think I've done more recording in the past 10 years than most people, but it's all been directed toward film composing and soundtracks. Just the same, it's been great.
I really liked doing a number of the projects and directors, and etc.
, etc., I knew about half-way through that I would never be doing that again. It's just not me. I really am happy as a part-time film composer, not a full-time film composer.
If you're reading a comic strip, you can read it at any speed you want.
But with film and music, the audience has to take it the way the composer gives it.
Communists love to make films about composers, because composers compose music and don't talk subversive things.
Composing for concert performance is a somewhat lonely occupation, but composing a film score is highly collaborative.
I was sixteen, I became a working guitar player gigging in LA, mostly in top 40 bands, then touring. I learned to take songs apart, down to their bones. Songwriters would hire me to produce their demos, which lead me to become a songwriter. The relationship and power music has to TV and film attracted me to composing [and] I learned to write for instruments other than guitar.
After directing the first film it feels kind of tricky being back to being in front of the camera, because I've always got one eye over there, kind of thinking of what they are doing, and how the shot is being composed. I think it takes a couple of films to just get back to just being an actor.
I like directors that give their composer a juicy role in their films.
Some films have a small, minor role for music, some have a larger role.
One of the first decisions I made, as the director of "Hide and Seek," was that our film would be silent and use underscoring of original music that I was planning on composing. The decision was mostly predicated on knowing how time consuming the editing of dialogue can be and given the various locations we shot in, I didn't want to worry about having to mix room tones in such a short amount of time.
With television you are producing hours and hours of music and for film it is a shorter experience for both the audience and for you as a composer.
I don't understand why we have to experiment with film.
I think everything should be done on paper. A musician has to do it, a composer. He puts a lot of dots down and beautiful music comes out. And I think that students should be taught to visualize. That's the one thing missing in all this. The one thing that the student has got to do is to learn that there is a rectangle up there - a white rectangle in a theater - and it has to be filled.
If you're the sort of person that likes a job where once you know what you're doing you can keep doing what you're doing, don't ever become a film composer.