There's kind of a cool feel that happens every now and then. I guess that feel is the thing that makes the score its own score. But, I don't know exactly what that is. So, it's hard for me to answer that question.
Most film scores have one vibe, and they stick with it.
When I was composing for 'The Villain,' I looked at it as a fan and came up with tunes accordingly.
One of the first things I want do when I start writing music for a film is to create its own sound world, its own music world.
Well, it's funny because, "The Green Leaves of Summer" and "The Alamo" theme are the same thing. There's just - the Brothers Four was a different recording of it.
Eighty percent of my pieces gravitate towards an A, as a tonal thing, not at the beginning, but somewhere in it.
I began to write a kind of waltz and in a little more than an hour I had the theme written.
The feeling that you want the listener to get, you should get yourself when you first hit that chord, and that melody comes to mind.
There is an idea, the basis of an internal structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction, and speed, attracted and repulsed by various forces.
If you're a film composer, you have the music tell the story of the character.
Music has to be written while people are still excited about a particular melodic or rhythmic sequence. The idea doesn't come out the same if we're not really excited about it.
Music is always key to me, whether it's 'Miami Vice' or not 'Miami Vice.' It's dictated by the story, about what Crockett and Tubbs and Isabella and Trudy are doing.
As a screen composer or film-music writer, I need something that I can work with in the body of the score. Like 'Charade,' 'Moon River,' 'Wine and Roses,' 'Dear Heart' - they were all just themes that grew out of the picture.
