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"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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"Reason and free inquiry are the only effectual agents against error."
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Personal Development
"Liking one person is an extra reason for liking another."
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Personal Development
"I have no other but a woman's reason. I think him so because I think him so."
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Personal Development
"Does this means something!?- Does it mean that you are again on the same opinion... no reason to ask you... no reason to say it again... it's logical."
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Personal Development
"Common sense is one of the most unused commodities available to man."
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Personal Development
"If a thing which is believed by billions is against the reason and not supported by the science, it is a great honour not to be amongst those billions!"
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Personal Development
"I felt uneasy, but sometimes, like I said before, I believed in Col. North and there was a very solid and very valid reason that he must have been doing this."
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Personal Development
"No emotion is, in itself, a judgement; in that sense all emotions and sentiments are alogical. but they can be reasonable or unreasonable as they conform to Reason or fail to conform. The heart never takes the place of the head: but it can, and should, obey it."
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Personal Development
"There's no reason you should write any novel quickly."
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"A ratio of failures is built into the process of writing. The wastebasket has evolved for a reason."
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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
"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
"The beauty of a main title is that you establish your main theme and maybe a bit of your secondary theme. You plant the seed that you're going to go water later in the score. And so, having that removed just made it so much more difficult."
Beauty
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