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"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."
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"If I had the choice, I would sing only love songs."
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"They say that the eyes of some paintings can follow you around the room, a fact that I doubt, but I am wondering whether some music can follow you for ever."
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"In music the passions enjoy themselves."
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"Music expresses those thoughts and words, which have no form but have longing for love."
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"No one can any longer write in the fat style of Strauss. That was killed by Stravinsky. He stripped the body of much of its clothes. Music is the craft of building structures with sound and that is what Stravinsky represents."
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"A few can touch the magic string, and noisy fame is proud to win them: Alas for those that never sing, but die with all their music in them!"
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"Music expresses that which cannot be said and on which it is impossible to be silent."
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"Because when he sings...even the birds stop to listen."
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"When I first came to Nashville, people hardly gave country music any respect. We lived in old cars and dirty hotels, and we ate when we could."
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"A melody occurs to you; you sing it silently, inwardly ... ; you steep your being in it; it takes possession of all your strength and emotions, and during the time it lives in you, it effaces all that is fortuitous, evil, coarse and sad in you; it brings the world into harmony with you, it makes burdens light and gives wings to the benumbed."
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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
"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
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