There are so many elements that make a good film. You need a great director who's driving it.
I think it's a big deal to have a great soundtrack for a movie.
'The Shining' is operatic and sensational and... really shocking. It has this amazing meld of classical music and modern interpretations of classical music, and incredible imagery. From the set design to the costumes, there's so much to unpack.
Any time I approach a scene, it's not just what's on the page - it's how the camera's going to show or not show what's on the page. It's which character are we going to align with and what music is going to be playing.
Films work due to scripts, characters, and what you see on screen.
The combo of a great story and good director works for me.
A successful film begins by choosing a director whose creative vision will define the choices made by everyone involved in the film.
There are some directors who actually fear the possible success of music. They fear that the audience or the critics will think the film has worked because there was a very good music score.
Who would say no to a film like 'Gunday?'
The role I was waiting for came in the form of Varsha in 'Tholi Prema.'
'Infernal Affairs' uses a vibrating terseness usually found in the writer and director Michael Mann's work. Thematically, this film deploys the techniques Mr. Mann brought to bear on 'Heat,' right down to using a similar cold-blooded electronic score.
Things that matter are a great story, entertainment, how the lead part moves the story forward and who the directors are.
When I work on a movie, I look at the script or watch the film, and I talk to my director or producers and make a plan: this is our main character; we need a theme for this plot. We need a love theme.
That's the only thing I'm jealous about 'Game of Thrones': they get to go to Spain all the time.
I never watch the dailies. What I usually do is have a look at the rough or final cut, and I just get something from the story. Sometimes I start composing even before the director has shot anything. The dailies don't help me at all.
I've always said if I had to pinpoint what's more important in a scary movie, the soundscape or the visuals, I'd pick the sound.
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?
I thought 'Skyfall' was a sumptuous 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.
There's very little synthesized sound in the 'Arrival' score. There are a couple of synthesized beats in there, but 99 percent of the sounds in there are acoustic in origin and either played or sung by a musician or a singer and recorded in a room.
My favorite movie would have to be 'Love Actually.'
When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.
I regard the 'Descendants' as a melodrama, and all scenes have been the trappings to increase the element of romance, I thought. In that sense, I am very satisfied and have great respect for the decisions of the writers.
I am an entertainer. Cinema is entertainment. It is nothing more than that.
Films need a good direction, strong scripts, and hardworking actors. 'Wazir' has all of these.
