Danny Elfman | "You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff."

"You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff."

Danny Elfman, American Musician

Right, Sense, Trying

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"You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff."

"Even though you are on the right track - you will get run over if you just sit there."

Author Name

Personal Development

"If you had a face like mine, you'd punch me right on the nose, and I'm just the fella to do it."

Author Name

Personal Development

"We all think we are right, or we should not believe as we do."

Author Name

Personal Development

"Einstein got most of the things right about black holes. I'm not an expert, I must admit."

Author Name

Personal Development

"The times that I have done something that I didn't respond to emotionally right away, it's generally not worked out too well."

Author Name

Personal Development

"Sometimes what's right isn't as important as what's profitable."

Author Name

Personal Development

"Some things you know about, you know what the ingredients are - maybe not all of them. But it's up to you to put in the amount. It's up to the director to nag you until you get it right."

Author Name

Personal Development

"Stand, you've been sitting much too long, there's a permanent crease in your right or wrong."

Author Name

Personal Development

"This dragonfly came up to me. He was hovering right in front of my face, and I was really examining him, thinking, How does he see me? I became enlightened."

Author Name

Personal Development

"When I sing, trouble can sit right on my shoulder and I don't even notice."

Author Name

Personal Development

"Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction."

First

"I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often."

Money

"It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second."

Values

"I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference."

Music

"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."

Dance

"Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room."

Reason

"Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns."

Love

"In Tim's films, more than most, if you miss the tone, you don't get the film."

Film

"The first thing I do is lay out that melody and figure out how it has to hold here and then finish to land here, because you know in advance you're going to want the melody to catch four things in the action."

Action

"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."

Film

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"Even though you are on the right track - you will get run over if you just sit there."

Author Name

Personal Development

"If you had a face like mine, you'd punch me right on the nose, and I'm just the fella to do it."

Author Name

Personal Development

"We all think we are right, or we should not believe as we do."

Author Name

Personal Development

"Einstein got most of the things right about black holes. I'm not an expert, I must admit."

Author Name

Personal Development

"The times that I have done something that I didn't respond to emotionally right away, it's generally not worked out too well."

Author Name

Personal Development

"Sometimes what's right isn't as important as what's profitable."

Author Name

Personal Development

"Some things you know about, you know what the ingredients are - maybe not all of them. But it's up to you to put in the amount. It's up to the director to nag you until you get it right."

Author Name

Personal Development

"Stand, you've been sitting much too long, there's a permanent crease in your right or wrong."

Author Name

Personal Development

"This dragonfly came up to me. He was hovering right in front of my face, and I was really examining him, thinking, How does he see me? I became enlightened."

Author Name

Personal Development

"When I sing, trouble can sit right on my shoulder and I don't even notice."

Author Name

Personal Development

More

"Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction."

First

"I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often."

Money

"It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second."

Values

"I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference."

Music

"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."

Dance

"Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room."

Reason

"Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns."

Love

"In Tim's films, more than most, if you miss the tone, you don't get the film."

Film

"The first thing I do is lay out that melody and figure out how it has to hold here and then finish to land here, because you know in advance you're going to want the melody to catch four things in the action."

Action

"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."

Film