I've always worked on all different types of music, some with specific project goals and deadlines and some not. Sometimes I would write a piece of music that is almost like a film score or weird electro pieces, wherever the muse took me, and I still do that.— Serj Tankian
Exciting Film Scores quotations
The score will take care of itself when you take care of the effort that precedes the score.
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.
It is when music is added that a film can come to life for a director.
A live orchestra, playing the score as a conductor watches the film on a huge screen, often gives a fimmaker the first real glimpse of his soon-to-be-completed work. That's where the magic is.
You can't score a goal, if you don't take a shot.
I'd like to produce, direct, write, score, and star in a film in exactly the way Chaplin did. I'll do that before I'm thirty.
I'm not saying that there weren't other inherent problems with the score that couldn't have been overcome with a bit of remixing, but why did they ask me to do it, and why did Griffin ask me to do it this way, for a film that had nothing to do with American vernacular?
My tastes range all over the place, from vocal standards to Motown to 70s funk & soul to 80s pop to film scores to artists like R.E.M., Ben Folds, Prince, Annie Lennox, the Police, Elvis Costello, Cat Stevens, the Ditty Bops, local bands that friends of mine are in, and the list goes on... I have no single favorite genre or artist.
A teacher is more than a test score and so is a child.
My grand plan is that I can master having a better life by making sure I have a regular flow of songs. Then I can give myself time to tour or celebrate or write a film score.
Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.
I grew up on film scores and scores from films.
I'm not interested in a realistic look - not at all, not ever. Every film should look the way I feel.
I can write songs, I've had songs in movies, but I can't compose film scores, you know?
It could have been extremely boring to write musical scores for only westerns of horror films. It was really exciting for me to work in all these various genres.
I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.
Great moments are born from great opportunities.
When I have to score a film, I watch the movie first and then start thinking about it. And from that moment on, it is as if I were pregnant. I then have to deliver the child, so from that moment on, I think always about the music - even when I go to the grocery store, I think about it.
In a film score, the last thing you want to do is take people out of the movie.
The music is secondary. In opera, the music is the main event.
Film scores are often based on short themes, and it helps if you've got some way of developing these themes and making them sometimes last 4 minutes and sometimes last 40 seconds. One ends up doing it subconsciously.
To make a great film need three things - the script, the script and the script.
I've explored the worship side, the pop side, and the film scoring side of me.
There's always a question of duration, there's a question of who the orchestra is. No one is free to write what you want - you collaborate on a film score, and one of the good things is that someone else's work is motivating you.
But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
I want people to know about all the kinds of music that I write.
Some believe I just write film scores, which is not true.
There are some directors who actually fear the possible success of music.
They fear that the audience or the critics will think the film has worked because there was a very good music score.
My interest in music tends toward being orchestral music.
And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.
When scoring a film, empathy is the key.
And it is just as important to use music to express the actors' emotions as it is to move the audience.
That's such a big part of film scoring that people don't realize.
There's a portion of film scoring that's writing the music, but a lot of it is how do you get along with the guy you're working with, how do you interpret what he wants? It's so subjective, you know? Your version of sad is probably different than my version of sad. It's my job to figure out what your vision of sad looks like.
The score is always the wonderful icing.
The score tells you the emotional content of the film. What the characters don't say, the music can say.
I always write the lyrics first. There are one or two exceptions over the years, but that's pretty much the way it's been. The process of applying music to words is a bit like scoring a film. You've got imagery.
Composing for concert performance is a somewhat lonely occupation, but composing a film score is highly collaborative.
I'm a member of the Recording Academy and I see the way it works and even with the whole voting process it's broken down into specific categories. There are Pop categories and Dance and Rock and Metal and Film and Score and everything else. Basically when you are voting you are urged not to vote in the category that you don't know anything about.
Singer/songwriters spend two or three years making an album, and then it goes up for sale and everybody pirates it and you don't make any money. Whereas, writing a film score you still get presented with a paycheck.
I love film scores and opera, and I wanted to work in those forms.
But theater was more accessible. And no one was doing this in the late 1970s, when I began working in the theater. So, I have written scores for thirteen plays, which are not musicals, but straight plays.
Jumping twenty or so years later, Ann Ciccolella, artistic director of Austin Shakespeare, approached me with the idea of staging Anthem. She had heard my film score to Ayn Rand: A Sense of Life. And she said, I want to do Anthem as an oratorio. Well, I figured what she meant was a straight play with music.
I love touring, I love making records, but eventually all I want.
..I want to score. I want people to ask me to score their film or use my songs in cinematic ways. I think the ultimate media is a story that you can watch and feel and have a musical moment to. I think it's my favorite. I love watching something when music is creating motion within the motion.
Ennio Morricone is royalty. He doesn't really do this a lot and Quentin brought him back [in Hateful Eight]. Quentin [Tarantino] basically went back and made his The Good, The Bad and The Ugly-kind of film, the ultimate epic spaghetti western, and then you've got mister spaghetti western himself scoring your movie. It's gonna be hard to not vote for him in a landslide. Probably the easiest win of the night.
After working as a producer on many pop, electronica and some soundtrack, incidental music projects, I became more focused on film and TV scores.
I'm happy to say that I have not been fired off a film.
The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.