My favorite music is when the sound is supplementing the message. I don't think it's dramatic; it's cinematic.
Film music, over the years, has taken from everybody.
I finally wasn't interested in writing music that played while actors talked.
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.
If you talk to any director, they'll say music is fifty percent of the movie.
Our music over the years has been very cinematic. It's surprising we never really got into film soundtracks.
I'm one of those people that really pays attention to the music in films.
Music is such an incredibly affecting part of any movie-going experience, and it just... it shapes your whole experience.
Music was a big thing for me growing up and Scorsese and Tarantino both use music brilliantly in movies. They're probably two of the best at using music.
When Kubrick called me about 'The Shining,' it was very strange. He first asked me to write music for his film, but I instead gave him suggestions about some of my pieces. I told him about 'The Awakening of Jacob,' which he did use in 'The Shining.'
I never use soundtrack; it is always part of the story.
In the old days, all the movie songs were recorded right there on set.
I really believe musical form will go on. There's got to be a way of making musical form in cinema live again.
I don't listen to film music at all. I don't want to be influenced.
As a film composer I deal with short bursts of musical ideas that are defined to a large extent by what's happening on the screen, by not only narrative and action, but staying out of the way of dialogue, sound effects.
I have composed music for many city-based movies.
I never shied away from a challenge and I love doing big, epic films. They're interesting to me just on a pure music level, just in terms of the amount of music I could create for a symphony orchestra and chorus.
I love 'filmi' things.
If there is a possibility within a film to have a song in the music score that adds a little bit of zing to the music album, then why not utilise it?
My biggest dream from the beginning - besides Evanescence - is scoring film and writing music for film.
Music is a big part of the director's life; Ms. Coppola's previous feature, a screen adaptation of 'The Virgin Suicides,' was informed more substantially by the score by the group Air than by the narrative.
It is very gratifying to see the music from 'The Lord of the Rings' trilogy find a new life on the concert stage as it is performed by different orchestras and choruses throughout the world.
The first 'Hunger Games' movie was one of those rare films to combine epic storyline, memorable characters and challenging musical opportunities.
I got a lot of film companies approaching me to write some songs for their films.
People keep referring to 'Sing Street' as a musical, but I really never felt it was that. I can't really define it as a musical.
