Film Music Quotes

It's a funny thing with the inspiration thing. There's always loads of music around that I absolutely love and films going back to when I started making film music in the mid-80's.

I always said when I was younger, I wanted to write film music, and I think that's what my ultimate dream is.

I want to do television, film, music and designing. I want to do it all!

For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.

I studied music all the way through college, but as soon as I graduated from university, I got straight into London and got straight into film music. So really my experiences have been being around the orchestras in London and being around the people who work in film music.

I'm not very good at sounding like other people. When you're going through your 20's and trying to get a break and that kind of thing, and you're trying to do something that sounds like film music, your idea of what it would be, it never really worked out for me and it's only really when I learned to trust the fact that I could only really sound like me.

I'm pretty proud of my film music in general.

Film music really is about point of view and you can shift it wherever you want really depending on how you look at it.

I just called to say, 'I love you.

I've always listened to a lot of film music, actually.

I'm somewhat of an empath, I would say. I relate easily to ideas and stories, books, films, music. I'm moved by all of these things. Art in general. But not just art, you know?

Electronic music lends itself to an abstract way of storytelling, so it keeps evolving. Theres a whole movement truly driving music further and there is no other music innovating as much as film music

Film music should have the same relationship to the film drama that somebody's piano playing in my living room has on the book I am reading.

I'm not afraid of being thought of as someone who is associated with film music. Why not? If it's a good song, what does it matter?

I can't really say that film music inspired me; it is more the films themselves, in connection with the music.

There's a whole gamut of things to do with film music that don't apply when you're making a record or if you're writing a concert piece or something.

The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted.

Fear is a problem with film music and films; people want to be conventional, and there's more commercialism today. If you are not daring in your art, you're bankrupt.

After moving to Los Angeles in the early '90s, I started looking into "music for picture" more seriously and in broader scope. My collaboration as a programmer and arranger with Graeme Revell exposed me for the first time to the full spectrum of film music, including the hectic demands of orchestral scoring and the power politics surrounding the finalization of any score for a major motion picture in Hollywood.

Although I enjoyed writing Film Music it was always a means to an end, in that it enabled me to keep a wife and family and write my classical music, which has always been my passion.

One of the earliest memories I have of feeling the power of film music was watching Willy Wonka & the Chocolate Factory. That was a really clear epiphany for me, when I realized that each film has its own music, and that there was someone out there who wrote this very specific music for just this one film.

The consumption of information, films, music has been changing in recent decades. It's hard to know what will become the film that can not easily reach [audiences].

I don't listen to Bollywood music much. But yes I listen to Indian music quite often and other non- film music.

It is really amazing to be able to do cinematic, big feature style film music on a weekly basis and do it in LA, on a big scoring stage, on a studio lot, and do it with the right players and make it sound great.

As a conscientious objector I did my community service in 1971 in a psychiatric hospital and a friend there, who also was a guitar player, invited me one day to join him recording film music with a band named Kraftwerk which I didn't know at the time. I came along and jammed at this session together with Ralf Hütter and a drummer (I believe his name was Charly Weiß). Florian Schneider and Klaus Dinger were present as listeners and everybody liked the spontaneous music we did together.

Select only things to steal that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination.

Select only things to steal from that speak directly to your soul.

Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic.

I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.

A good portion of my work with Tangerine Dream at the time involved film music, and I remember approaching it as any 23-year-old would - without much fear or respect. Also, Tangerine Dream was typically asked to deliver a monochromatic kind of score, the electronic-analog trademark sound that TD had become famous for following landmark films such as Sorcerer [Universal, 1977], Thief [MGM, 1981], and Risky Business [Warner Brothers, 1983].

In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.

Gentlemen, you can't fight in here! This is the War Room.