Steven Price Quotes

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.

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

I'm interested in creating a little sound world for songs, really crafting it, building it, and making it like a little doll's house with little things inside it, staircases and rooms and everything kind of relates to everything else. I've never seen it as drums, bass, guitar and vocals in very separate spaces.

The process of composing the film score for each movie is completely different. They all have their own personality and their own completely different life, but there's never been a formula. Each time, it's a new thing.

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.

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.

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.

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.

Sometimes I write them down in musical notation as a trigger to remind me about certain directions to go. Or I can be specific about a sound I'm looking for.

I was a schooled musician. When I made 'Blue Velvet', I told everyone what to do. I was an arranger. I learned music in school I told the band to play this. I told the guitar to do that.

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

When I'm making music, I can hear all the parts, all the instruments. I can hear what it should be.

I love writing music for film and TV, but putting it into a video game is twice as fun because it needs to be repeatable and joyous.

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.

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 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.

When I was composing for 'The Villain,' I looked at it as a fan and came up with tunes accordingly.

Composing music for 'Mungaru Male 2' is a big responsibility and challenge.

As a film composer, you have to be a good collaborator.

Composing is to think. It is to have your mind trying to find what is the best sound that the movie is going for: the best melody, the best texture, the best structure and dramaturgic arc for the film. Then you discuss that with the director. He's the leader. He's the one showing you the path to follow to find the soul of the film.

The really pop country stuff can sound a little bland because they put in strings and horns and all of that.

There's always that possibility. But, it would take a hell of a lot of work. Because unlike a movie where you just have to do a little ADR and then some mixing, we've actually got to bring the orchestra back because there is music, as you probably noticed, right the way through the film so you have to orchestrate all of that extra time.

As a screen composer or film-music writer, I need something that I can work with in the body of the score. Like 'Charade,' 'Moon River,' 'Wine and Roses,' 'Dear Heart' - they were all just themes that grew out of the picture.

I'm a composer like every maestro on this earth.

I really feel like I've written my most effective music in the instrumental realms.