Darren Aronofsky Quotes

Film composing is a splendid discipline, and I recommend a course of it to all composition teachers whose pupils are apt to be dawdling in their ideas, or whose every bar is sacred and must not be cut or altered.

I grew up on film scores and scores from films.

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 think there has never ever been a career like John Williams'. That whole 'Jaws' phenomenon - there's nobody that knows how to use music like Spielberg, and John is just the perfect analog to Spielberg.

I love touring, I love making records, but eventually all I want...I want to score. I want people to ask me to score their film or use my songs in cinematic ways. I think the ultimate media is a story that you can watch and feel and have a musical moment to. I think it's my favorite. I love watching something when music is creating motion within the motion.

When I think of Morricone, more than his using a specific instrument or a specific sound, it's his way of approaching music that sticks out.

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.

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.

Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.

There's a lot of money in doing score music. You can get a chance to get nominated for an Oscar; I would love to get nominated again.

I'm a little left of center, for sure, with Angels & Airwaves. But even when I get really weird, it's not that weird. It's not like some obscure Sonic Youth record or something. We don't take it quite that far. But what we do like are crescendos, and we do like when a song catches you off guard and it gives you the chills up and down your arms.

I don't know - music in film, for me, is not another part of a soundtrack; it is something that also helps to approach a character, to foresee the type of image - you see what I mean - it's like a part of the process.

My biggest dream from the beginning - besides Evanescence - is scoring film and writing music for film.

Music is a very, very powerful tool that filmmakers use to sway people into emotions that they intend you to feel.

When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.

And I think that I'd be a natural for scoring horror movies.

Music critics have made it quite clear that any composer who ever contributed a four-bar jingle to a film was to be referred to as a 'Hollywood composer' from then on, even if the rest of his output were to consist solely of liturgical organ sonatas.

De Palma is delicious! He respects music; he respects composers. For 'The Untouchables,' everything I proposed to him was fine, but then he wanted a piece that I didn't like at all, and of course we didn't have an agreement on that. It was something I didn't want to write - a triumphal piece for the police.

I think a melody is a melody. And the way I usually start is I start writing my themes without even writing to picture to just try to find the tone for the movie or the TV show.

When Kubrick called me about 'The Shining,' it was very strange. He first asked me to write music for his film, but I instead gave him suggestions about some of my pieces. I told him about 'The Awakening of Jacob,' which he did use in 'The Shining.'

I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.

I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet.

Some of my favorite scores include Bernard Herrmann's Hitchcock scores.

My experience and growth in the film music world and the time I've spent studying legendary film composers have given me depth of insight into how music can inspire a range of emotions.

I wanted to be a film composer because I heard scores that could stand alone, from 'Vertigo' to 'Star Wars' to 'La Dolce Vita,' because this music has so much history. They're weighed with the history of music. They come from somewhere, they have a past.