Henry Mancini Quotes

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.

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.

My dad's a sound designer, and he used to take me to work with him.

When a piece is done, I mix it before going on to any other piece.

I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.

So film music is something I absolutely wanna get involved in.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

Well, I think, I certainly used backward music in Sea of Monsters. I can't remember in the Sea of Time. I would tend to do that all the time, you know? I tended to do all sorts of weird things. Just to get effects.

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.

I wouldn't mind doing a soundtrack someday.

I love being in the studio.

I had a talent for scoring films. I just developed it.

My producer, HH, makes sounds, so I'm writing to his beats.

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

There's a lot of money in doing score music. You can get a chance to get nominated for an Oscar; I would love to get nominated again.

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.

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 don't only listen to the guitar player.

When I'm finished with a film, I've been living with it, we've been dubbing it, recording to it, and so on. You walk out of the studio and, 'Ah, it's finished.'

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.

Once a song is done, for me, personally, it's usually two or three days to get the mixdown.

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.

My tools are musicians, effects, things like that.

I would like to do more film scoring, period. Whether it is a big film, a small film, or just anything. I feel like I have a lot to learn, and what better way to do it than on the job?

Usually, I write the music and am involved in the production.

I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.