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Danny Elfman

"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."

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"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."

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Amber Hurdle

"In the first place, Descartes stands for the most explicit and uncompromising dualism between mind and matter."

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Amber Hurdle

"I consider myself a poet first and a musician second. I live like a poet and I'll die like a poet."

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Amber Hurdle

"The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason."

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Amber Hurdle

"Except during the nine months before he draws his first breath, no man manages his affairs as well as a tree does."

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Amber Hurdle

"George was getting alot of independence for himself in those days. He was writing more, and wanted things to go his way - where, when we first started things basically went John and Paul's way. You know, 'cuz they were the writers."

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Amber Hurdle

"First of all, you have to understand that I'm like anybody else. When I hear my voice on a record I absolutely loathe my voice. I cannot stand my voice."

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Amber Hurdle

"The first thing I think of when I hear the name of Lucille Ball is a Hollywood legend. I have fond memories of growing up at her house, but she was a different person off the set than she was on the set."

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Amber Hurdle

"I never excluded any genre on my first record."

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Amber Hurdle

"The song Dakota was first written in Paris. I was doing a promo trip. It was snowing and the hotel room was really cold and boring and for some reason I just had a go of the guitar and the song came pretty quick."

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Amber Hurdle

"First be best, then be first."

Explore more quotes by Danny Elfman

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Danny Elfman
"I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound."
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Danny Elfman
"Doing Tim's film is always going to be the most pleasure. Let me just put it that way. So, without drawing favorites one way or the other, getting back with him and doing Mars Attacks! was certainly a special treat."
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Danny Elfman
"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."
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Danny Elfman
"I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music."
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Danny Elfman
"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."
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Danny Elfman
"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."
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Danny Elfman
"In Tim's films, more than most, if you miss the tone, you don't get the film."
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Danny Elfman
"It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am."
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Danny Elfman
"That still has to be there. And so, it's kind of an interesting question you brought up. Because, on the one hand, yeah, it'd be lovely. I certainly don't see that happening. In fact, I see the opposite happening."
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Danny Elfman
"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."
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