Ludwig Goransson Quotes

Just, you know, you can't put bread in a cold oven. You know, you've got to take your time. You've got to heat it up. So that's what, that's what I like to do with my music. I like to build it, and build it into a maddening, exciting crescendo.

I always think it's important to choose your initial theme very carefully because you're going to be married to it for a long time. You might have to generate an hour's worth of music from a very short, little piece of theme.

'Iceman' covers a bigger scope than 'Long Day's Journey.' But they're both fabulous pieces of work. 'Iceman' is like a symphony. It's got all the movements, all these different voices. 'Long Day's Journey' is more like a beautiful string quartet.

You're creating a score that has to have an emotional and story logic to it. You want a dramatic arc. You want all the songs to push story forward. That's the same whether it's for stage or film or television or whatever.

I just love what Nicholas Britell did with 'Moonlight.'

I've always thought of music as something which gives the words their flight and their wings and the music often comes first, although sometimes I'll have a concept, a title idea, a lyric idea that I want to write and the lyric will come first.

You would find in a lot of Zep stuff that the riff was the juggernaut that careered through and I worked the lyrics around this.

Each song is a small universe to me. Each song has a story of its own. Each has a full life to express in order to be complete, so it often happens that the building to a big crescendo feels right in the recording or writing process.

Writing music is not so much inspiration as hard work.

So writing a song is much harder than doing a classical piece for me, because in a classical piece, I can just let the mood dictate what's going to happen.

Music assists him in the use of harmonic and mathematical proportion.

I think possibly the first film that has music as its leading character.

You have certain expressions when you write music, a lot of different emotions, a lot of different feelings.

What came to me as a revelation was the use of rhythm in developing an overall structure in music.

I really believe in melody.

Classical - perhaps I should say 'orchestral' - music is so digital, so cut up, rhythmically, pitchwise and in terms of the roles of the musicians. It's all in little boxes. The reason you get child prodigies in chess, arithmetic, and classical composition is that they are all worlds of discontinuous, parceled-up possibilities.

Reading music is something that's inherently hateful to me. It makes music like mathematics.

You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

I actually write film music because I'm classically trained on the piano so as well as songwriting I also write actual film music that could be used for movies like war movies and love movies.

When I was 20, Shostakovich was my favorite composer. I still find his Fifth Symphony wonderful, with its outstanding themes and rhythms. That's the piece that made me want to be a classical composer.

After conducting Wagner, Beethoven's triple concerto is like taking an Alka Seltzer.

Music is all about training in harmony, training to understand and use musical energy for our greater pleasure by attuning to the natural laws of the universe.

The way I see it, there's only one melody for any song.

How to play music may be known. At the commencement of the piece, all the parts should sound together. As it proceeds, they should be in harmony while severally distinct and flowing without break, and thus on to the conclusion.

I know that the twelve notes in each octave and the variety of rhythm offer me opportunities that all of human genius will never exhaust.