Music Scoring Quotes

Let's say music is needed for only 43 seconds of film. You have to score it so it is an entity, so it won't bother anyone when it ends so quickly. Or if a song runs 2 minutes and 45 seconds, but the titles run a minute longer, you have to arrange that song so it doesn't get repetitious.

I've been doing a lot of music for films and television for quite a few years.

When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.

I think that marriage of music and picture is so vital, especially in a film that's almost exclusively exteriors.

I just think I started off like many composers, just in different fields of music I was doing. I started doing a lot of commercials and jingles, and then that led to doing TV and then films and games and TV.

My dream is to compose for Karan Johar and Aditya Chopra.

I had a really pleasant time composing music for 'Raaga.'

As far as putting a rating on music like you do movies, I can see the common sense in that.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

I'm used to music as a tool, taking the various elements and then making something completely new out of them. And writing film music is the perfect opportunity to do that, because you can look at the film and then just let your imagination soar.

Though I have started pursuing acting, there is no stopping for me from scoring music because music has always been my passion, though acting is my interest.

My films are based on themes, so I always go for theme tracks and background score.

You can use existing music in a film, but creating a soundtrack is very different. One note can be enough.

I think that 'The Sopranos' uses music incredibly well.

A lot of the music editing job is communication and working out what a director really wants the music to be.

The intelligent use of contemporary music in film has an enormous audience.

The beauty of a main title is that you establish your main theme and maybe a bit of your secondary theme. You plant the seed that you're going to go water later in the score. And so, having that removed just made it so much more difficult.

Film composers are the most prolific music makers on this planet, and most of us are, like, losing our minds if we're doing five or more movies in a year.

I first came to Abbey Road Studios in 1994. I scored 'Little Women' there. What I remember most about it was how hard it was to come to London from Los Angeles and conduct when you're jetlagged.

There's been a tendency to think that TV music has to be cheap and fast and for films it has to be nothing but orchestral music, but it's not right.

I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.

To make a film, the final big collaborator that you have is the composer.

When scoring music, the idea is to ensure that your song makes it to the playlist on your audiences' music player and stands out from the multitude of songs released every day.

With moviemaking, the audience always has to keep asking, 'What happens next?' If you have the wrong piece of music over a scene, people aren't going to get the scene. If you have the wrong camera angle, people aren't going to pay attention. That's as much a part of the process as getting people to talk to you.

If I walk into the editing room, it's six hours lost. I'm massaging frames. I'm, like, 'Oh, take six frames off that shot. Hit the music cue right there.' I will drive everybody crazy if left to my own devices in that room. So I try to do everything I can by staying out of the way.