Steve Buscemi Quotes

Music is the life of a film.

Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.

Normally, when people compose for film, you give them the film, and they look at it, and they compose it.

Music in this film is a very important part.

The job, when you write film underscore, is to be ignored. That comes with the gig, no question about it.

What kills music in films is when it's done as performance, drawing attention to the fact that someone's in the background playing it.

There's the soundtrack to The French Connection II'I think It's my favorite soundtrack. It hasn't been released. I actually had to go and get the film and just make a recording of it to get the music.

Music is half the film.

I often begin movies with music in my head; it's a very important dimension to me. Not just the music itself, but how to use music in film: when and how and subtlety. I don't like to be too sweet in my stories, and I like the abrasive clang, the contrasting of sounds and cultures.

Music is one of the important things for me in cinema.

I've not used a score in any of my films so far.

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

I really believe musical form will go on. There's got to be a way of making musical form in cinema live again.

Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.

The music for 'The Departed' could have been played by an orchestra, but you make a decision about orchestration based on the context of the film. You want the music to broaden the scope of a film, not just repeat what you're seeing.

Right now I just finished writing the music for a Rugrats feature film and the third week of September I go to London, and the Orchestra is going to perform the score.

I don't generally find myself listening to the music of a film unless there's something awfully wrong with it.

It's a deliberate choice. I am a fervent supporter of the idea that you don't have to have wall-to-wall music in good films.

I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.

Music is such an incredibly affecting part of any movie-going experience, and it just... it shapes your whole experience.

When I was a kid, there was no DVD, no VHS. The only way to re-live a movie once it was out of the theater was to listen to its film score.

A good theme - like the 'Pink Panther' or 'Baby Elephant Walk' - can work all the way through the picture, which is what I did with them. So, for me, a good melody is not just a pretty tune.

So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.

When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.

Film music has given me everything - career and popularity.