Alexandre Desplat Quotes

You can have music and it will stand alone by itself, but you can't have a movie without it.

Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story.

One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.

With animated film, you have to create the sonic world; there's nothing there. You get to color things in more and you're allowed to overreach yourself a little bit more, and it's great fun.

I'm one of the guys who wants to watch the film completely done, with special effects, sound and music, because I tend to get disappointed if I watch it not fully done.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

After school, my mom would pick me up and I would just go to visit my dad in the recording studio, and I would see him working with Mark Hamill or hear him doing the 'Transformers' or a 'G.I. Joe' or the 'Rugrats.'

A scene gets cut a few frames here and there, but there's a cumulative effect to it, and then the music needs to be reworked. It's demanding, but when you see the improved cuts, it's always better.

The dubbing of the music and effects is really incredible today. You're feeling gun shots. I mean, it's not the way people say it is, but the gunshot sounds real. And cars sound real. Among the many things in the evolution (of movies) is to make the sound in the movie incredible. That's what you feel.

On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.

I've always been a bit of a sound freak in the movies I've done.

For me, shooting, editing, and scoring rely on rhythm.

I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.

With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'

Aame' is a new attempt. The entire film was shot using live sound technique.

Sound is the most important thing on any film, especially documentaries.

For me, what people generally call sound design is just one component of orchestrating a score.

I have been dubbing since 2006.

I'm not a filmmaker. I'm not a music producer by choice.

TTS was the unit that I was directly involved with the productions, and I'm still really, really proud of what we had put together, not just visually but musically at that time and age.

Post-production is kind of the death of hope. The money has been spent. The grand ideas are either there or they're not there. So music oftentimes has to compensate if there are issues, or it has to stay out of the way if the movie is working really well.

Godzilla' took two months because it required a two-hour-plus score. 'Imitation Game' was three weeks.

I'm really into the way sound works in film, and I did a little bit of sound design for theater in college.

Sound design is always critical, especially when you're doing a thriller with a lot of suspense and tension.

That's what keeps me going: those moments of solving a problem, of what happens to a movie when the right music is added - and what happens to the music when the movie's working with it.