Music Synchronization Quotes

Stunts have to be meticulously arranged. Choreographed. You could take a fight scene and set it to music.

When I was doing 'The Sopranos', I liked putting music together with the film; that was my favorite part of it.

Basically, great directors know how to combine music with the scenes that they are working on.

I always thought the piano scene was kind of unique to shoot because we were actually able to film with the playback of the actual song. And that was quite amazing because it almost made it easier - music is usually something that is added after filming has finished so to be able to shoot a scene with music was really wonderful.

One of the nice things about licensing music to movies or advertisements is you can reach a lot of people who normally wouldn't hear music.

Speaking seriously, 'Ikaruga' influenced how I synchronize the game sequences with the music. Combining the two in a way that appeals to people's hearts is a task that's quite difficult.

In the old days, a TV sync was perceived as not so cool or whittling away at your indie cred. Now it's seen as much more of an opportunity than a sellout, as a way to find fans who wouldn't have ordinarily come across their genre of music.

As a musician myself, it annoys the hell out of me to watch an actor trying to play a guitar out of time with the music.

I'm a big believer in supporting the action on film with the appropriate music. It covers a multitude of sins. It's gotten me out of a lot of jams, over the years. So, music for me is a very big thing in films and I use it unashamedly.

To his orchestra Stop da music, stop da music! You're supposed to follow da music, not chase it all over da place.

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

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

I can see my songs in a movie as long as it's a movie no one will watch.

The steps must be second nature to me, so that the music seems to be drawing the steps out of me and I don't look as if I'm struggling to fit the steps to the music.

It's always about trying to make everything go with the music, like a script. It's not like, 'Let's have a confetti gun!' If I ever have one of those, it will be because it's absolutely the right thing at the moment in the song. I can't just go get a confetti gun.

We did a lot of fight scenes in 'Hitman: Agent 47,' so you have to learn repetitious movements to music; otherwise, it's amazingly boring. Michael Jackson was our savior.

If you put music into your Vine, and it's really jumpy, just do it over again.

I think that commercials can really ruin a song. You know that the person sold the song for a good deal of money, and that was the tradeoff. But, music and picture can marry in a beautiful way, and the reverse also.

Some producers hang-on to that old cliche that if the audience hears the music, it is no good. I say this is so much talk. Music gives the film another dimension, if it's done with the story in mind.

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

Apple's iTunes program was once the envy of the world. A combined digital music store and player, it could also sync your iPod. And it worked on both Mac and Windows. It was reasonably fast and very sure-footed.

You've all seen movies where the music isn't working with the story. And it's either because... the story isn't working itself. Or the composer kinda just wants to write whatever they want to write, not paying attention to the thing.

Before me, music soundtracks were sort of afterthoughts.

A montage is incredibly challenging. When I can, I'd like to know what the music is going to be ahead of time because that will affect the beat, the pace of the montage.

I don't like fast cuts. I'd rather shoot something that dances to the music.