Kevin Richardson Quotes

I love building a song up from nothing and jumping from one instrument to another.

I consider myself a composer.

The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.

I am an inventor of music.

I love making music. I love being involved in arranging music. It's very natural to know what I want to hear next and come up with ideas that are variations of what might be good.

I think of myself as a film composer.

I didn't start writing with band arrangements until I was working on 'Tramp.'

I think, for me, a way to really come up with new ideas and come up with new ways of writing music is to create a unique sound palette or soundscape for all the films I'm working on.

I love making soundtracks for video games, because it is a completely different challenge, and I get to do something different.

I've been writing music since I was a teenager. I play keyboards. I'm not much of a player, but I can write. That will come along. I'd like to do a musical.

I write the music, produce it and the band plays within the parameters that I set.

My first album didn't come out until I was 27, which in pop years is late, you know. But when it came time to arrange it, I became a kid in a toy shop. I had a harp and a saxophone quartet and a symphony orchestra. I went berserk for a time.

I love putting the music together. It's like art.

If you're going to start with melody you'll need some tympani, I think.

Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I don't understand why this happens in the movie industry.

The bass line is the anchor for me. I started with the bass, and either doubled that and then added the harmonies, or sometimes added my own harmonies that I've always wanted to sing on the song. And then it just went on from there - singing violin parts and trumpet parts and just trying to emulate the sounds of the instruments.

I write music every day.

But I think the credit has to go to Geddy... he spent a lot of time in the studio with Paul, I think he needed that kind of focus to be in there to be a part of the whole thing, and for the most part he made all the major decisions.

Simon Hale, the British arranger, does all string and wood arrangements on my records.

I've composed a fair amount in my life, and some of them have made it on to the screen, some compositions that I've done, a few. And I like doing that. I had never really considered doing a full-length thing. I've worked with other people creating full-length pieces.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.

Doing the instrumental thing, you're really looking for the power of the melody to carry the record.

I had a talent for scoring films. I just developed it.

I don't try to make 15 musicians sound like two each.

T Bone is genius. The way they've recorded my voice and the instrumentation to these songs is really quite extraordinary.