David Newman Quotes

Michael Giacchino is a fiercely creative musical mind and a true 'Jurassic Park' fan.

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

I never dreamed of writing for concert or opera. I always dreamed, if I was a composer, to write music for films.

I have composed music for many city-based movies.

What kills music in films is when it's done as performance, drawing attention to the fact that someone's in the background playing it.

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

My best film composing experience was with Elia Kazan.

I have tremendous respect for film composers.

I have done songs here and there. But I have never scored a film. That is something I would like to do at some point.

Normally, when people compose for film, you give them the film, and they look at it, and they compose it.

I really wanna get my paws on scoring a film.

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.'

So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.

Film music has given me everything - career and popularity.

I would love to compose for an entire film because it will be a different experience.

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.

Whatever you say to yourself about it being just another movie, and you're going to do the job you always do, it ends up being a 'Bond' movie and a sense of what it is to put music to James Bond and to honor the music that exists.

When I write music for a film, I'm not writing a solo album, and I'm not writing a personal piece. I'm part of a team of artists. So I think like a filmmaker more than a composer.

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.

Any composer should be able to synthesize the primary feelings that the characters are going through in the movie.

Because of John Williams, I began collecting all kinds of film scores. I listened to them when I fell asleep, and it was through my obsessive listening that I learned what all the different parts of the orchestra were. I learnt a great deal from him by just simply listening.

When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.

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

Music is a big part of the director's life; Ms. Coppola's previous feature, a screen adaptation of 'The Virgin Suicides,' was informed more substantially by the score by the group Air than by the narrative.

When I compose for any film, I always work with the story in mind.