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"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."
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"Film gives us a second chance at a first impression."
Author Name
Personal Development
"It's really rare for film directors to be that interested in things other than themselves."
Author Name
Personal Development
"Everybody's a filmmaker today."
Author Name
Personal Development
"In the film, I'm not very mobile, like in the space suit."
Author Name
Personal Development
"The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we'd gone strictly with the '20s, the movement would have been impaired."
Author Name
Personal Development
"When I am shooting a film I never think of how I want to shoot something; I simply shoot it."
Author Name
Personal Development
"I had lived in Fukuoka during the mid 1990s, and I was a volunteer with the Fukuoka Asian Film Festival."
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Personal Development
"I'm working on bringing the instant film camera back as part of the future."
Author Name
Personal Development
"A woman in Mexico wanted me to heal her. But I can't heal anybody. I just put my hand on her and said, 'Thank you for seeing the film.'"
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Personal Development
"When the movie was done, Number Five was crated up. Eric took him over to Germany; displayed him over there because Germans really liked this movie. It was very popular with them."
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"I don't see myself necessarily having a burning desire to write a symphony."
Desire
"In Tim's films, more than most, if you miss the tone, you don't get the film."
Film
"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."
Right
"I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging."
Work
"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
"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
"Most often the music does end up in the movie, and sometimes there's a point where I wish that it wasn't, just because I think the score would be more effective if there was less of it. But, again, that's not my call."
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
"I'll just start laying out the melody exactly where I want it to fall. And then I'll go back and fill it out. Whereas, in other pieces I'm really just going a couple bars at a time."
Time
"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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