Alfonso Cuaron Quotes

I think the sound that I have had on all the records that I've been a part of have been important and special.

I didn't really think about the sound of my songs before I started recording things in the studio.

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

Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

The studio that we mix in is still in Chicago.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

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

My idea is to play with the people who you know want to get it right. Then it's fun and easy to record, and you can get down to details, like taking out cymbals so the verse doesn't dwarf the chorus, something like that.

When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.

I feel like, a lot of times, when you have a specific sound that you want and are searching for, you want the right group to help you put the kind of music out that you want.

I know sound, and this is what I'm going to stick to: what I know.

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.

With a huge storm, you need a lot of volume, but it can't become one loud noise. Dolby Atmos helped a lot because it gave us the separation of those elements.

I think I make good beats, but when it's not mastered correctly, it can definitely make it sound like it's not a good beat, and that has been an issue sometimes with me in the past.

That's a sound design thing but then we wanted to do music that would not disturb it and at the same time drive it.

Recording should be fun.

With our producer, Greg Fidelman, it was really a joy to work with him and to try different things and experiment.

I know all my different formulas to get certain sounds. I've been doing this so long that I don't experiment anymore. Or let me rephrase: I've been doing this so long that I don't have to experiment as much. You always want to evolve and change, but if I go in and I know it's a certain type of song, I know exactly where I'm going to place the mics.

I think, with production, I pay very close attention. 'Cause that's my favorite thing in music. That's the whole drive. That's the reason.

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.

I'm usually the last man on the totem pole. Except for the sound effects and the final sound mix, the score is the last element to be added to a picture.

We grew up understanding how the analog sound is a driving force for music.

When you listen deeply to a song, you find all the little sounds they use and subconsciously learn how to produce and mix.

DJing is like a great tasteful art form.