Movie Scores Quotes

When I was young, I wanted, most of all, to be a writer of films and film music. But Middlesbrough in 1968 wasn't the place to be if you wanted to do movie scores.

When I was recording my first solo album 'Imaginaryland,' I was listening to a lot of movie scores.

One of the most interesting things, at least for me, are the soundtracks for 'The Social Network' and 'Drive.' Basically, it's what I did in 'American Gigolo.' I could have done the music for those movies blindfolded. And one of them won an Oscar, and the other is this massive soundtrack.

I've been really enjoying writing articles and writing music and music for movies.

I love movies. And sometimes it will be a case where I don't notice music.

Our music over the years has been very cinematic. It's surprising we never really got into film soundtracks.

I don't listen to film music at all. I don't want to be influenced.

The first record I bought was the 'Edward Scissorhands' soundtrack. I remember being really obsessed with the movie, and all the campiness sort of went over my head because I was so little - it's the same with 'Hairspray.' But I would listen to that soundtrack a lot.

I'd love to do film and soundtracks, and you couldn't do much better than James Bond.

Making my first record, I was really inspired by all the color palettes Sofia Coppola has in her films.

I remember being obsessed with 'The Score' by The Fugees. I used to listen to a lot of really melodic music with a lot of harmonies. The Beach Boys used to make me happy, and Simon and Garfunkel, and I used to listen to a lot of film soundtracks as well.

I have soundtracks for a lot of stuff.

I have the soundtrack for 'A Clockwork Orange,' which is kind of cool. I guess I don't really end up buying a lot of modern soundtracks. Another soundtrack I love is from a French movie called 'Betty Blue.' it has some really melancholy piano work.

I realized why movie scores are mostly strings, because it really frees your eyes to look around.

Some of our favorite bands are, like, Third Eye Blind and Counting Crows, and stuff like Danny Elfman and Jon Brion movie scores.

I've had those people very interested in my writing. Since I think of myself as a composer, I feel really good. I've had lots of guys call me up. I've gotten two or three commissions to write things. I've written lots of movie scores.

In my early teens, I started collecting soundtrack albums.

FM stations still play songs from 'Birugaali,' 'Patre Loves Padma,' 'Sanchari' and 'Dheemaku' and people love them. But since the films failed, hardly anybody remembers that I scored the music for these films.

I have tremendous respect for film composers.

Classical scores go up and down; they're kind of hysterical in a way. And movie scores are much more - they just drive and move forward, and they build and can't go up and down at that same speed. It's a big job to turn that into something that pushes the movie along.

I love to just go to the movies, watch movies, listen to the scores and all that 'cause that's, like, the next step for me.

I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet.

I love to do animation movies, and those might be some scores that are lesser known, unless you really kind of dig through my work and see.

My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.

I love soundtracks. I used to have three iPod classics: one with regular music, one with soundtracks, and one with demos on it.