Shinichiro Watanabe Quotes

I like to sort through music and see whatever pops out to me or inspires me. If I could have a production team going and kind of mix records with me, that would be cool; to take the records and have them sound the way I want them to sound. But I'd rather sort though music to find them things.

In 'thinking up' music I usually have some kind of a brass band with wings on it in back of my mind.

I'm surrounded by music; I always was when I was growing up and continue to be. And I love music. And when I imagine a fictional world, I imagine there's music in it for those people, too.

Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.

I just happened to start playing music for the conceptual ideas.

I firmly disbelieve that one has to be a tortured soul to write good music.

To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.

I feel like, at the end of the day, I always would try to make music that I wanted to listen to: stuff that I liked and wanted to hear.

If you wanna see me in full '80s glory, I did one season of 'Halt and Catch Fire.'

I really loved taking photos when I was younger. I think my love for photography sparked my love for creating the visuals to support my music.

I actually really liked the music to the 'Friday the 13th' Nintendo game. I still listen to it all the time. I sampled it in a couple records, too. It's hypnotic and dark but also really pretty.

Sometimes you listen to a piece of music that inspires a collection. You listen to the music, which creates the mood, which creates the clothes.

Music is very, very important in my movies. In some ways the most important stage, whether it ends up being in the movie or not, is just when I come up with the idea itself before I have actually sat down and started writing. I go into my record room... I have a big vinyl collection and I have a room kind of set up like a used record store and I just dive into my music, whether it be rock music, or lyric music, or my soundtrack collection. What I'm looking for is the spirit of the movie, the beat that the movie will play with.

Specific music starts feeding my imagination and gives me a landscape that corresponds somehow, in some abstract way, to the world I'm just starting to imagine.

I've always got about four albums in my head.

I hadn't really thought about the kind of music I wanted to make. I was just making raps and stuff. I thought that was the coolest thing in the world.

Conception of a film starts with the music. Always. I hear the movie before I can ever write it. I would say that 80% of the time, that's the successful stuff. It's the other stuff I have to work for to get right, and sometimes it doesn't work out, but the music is always the beginning. So I'm still a music journalist.

The poems ... are moments when I had the intensity to see, and the energy to build, some careful analog that completed the seeing. ... All I have been left is the exhausting habit of trying to tack up the slack in my life with words.

By actually taking Sleepy Hollow and the Rip Van Winkle story, and finding the spirit of what was great about both of them and putting them together. So it felt, actually, like one of those ideas that clicked for us, right away, on instinct.

We always try to make the very best movie when we're working on and we can only think one at a time. We want to make this a perfect jewel, and then we'll see what happens after that.

We really enjoy that, having a relationship with writers, developing material and getting a director, actors, that we have kind of that family kind of as a group we're going to do it together mentality in a project. Then the tough part is - so what actually goes has very little to do with us sometimes.

People who write books - they live in their own world as they're writing. But people who are doing shows or big movies - not only are you writing this world that you're living in, but you're also simultaneously running a circus, and you can kind of start losing your mind like that.

A budget is not an issue. I mean a budget is used if you need more weeks or more time or more elements, but the creative process is exactly the same. In some instances you become more of a boss when you are doing a small movie. So that is not so relevant. The only thing is that the bigger a movie is in terms of budget, is that there are more people giving opinions.

In drawing, I often think of things as flying buttresses.

If a writer understands his work as something that originates with him but then, with any luck, gets away from him, then what he needs is someone who can grasp the potential of the piece and lead him to that higher ground.