Howard Shore Quotes

All roads for me lead back to Mozart. In his tragically short life, he breathed new life, fire and meaning into every form of music that existed in his time.

Music is a very integral part of the film, but it will not be as full of music as a Bollywood film.

Although I enjoyed writing Film Music it was always a means to an end, in that it enabled me to keep a wife and family and write my classical music, which has always been my passion.

Perhaps, once I am gone, the one thing I might be remembered for is having sung a great deal of Mahler with a great many phenomenal conductors. It is wonderful music, very spiritual.

I love doing concert music.

And to understand this, I think this is a most important point where I would like always to be understood what we do with the New York Philharmonic. That the meaning of the music is number one.

I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference.

The music of the most popular operas is so highly esteemed, it can stand endless revivals.

A Beethoven symphony should be rehearsed like chamber music, only for a lot more people.

Classical music only really came into my life in 1969. I wish I had heard classical music and church music when I was a teenager or even as a child.

I started out coming from more of a concert music background. It just turns out that 20th-century music techniques lend themselves to scary movies and horror movies.

I admire Tom Ades: he's a brilliant conductor, and he gets just the right hard, brilliant sound from the City of Birmingham Symphony Orchestra for Russian music.

I actually played violin on 'E.T.' I used to be a violinist.

I wanted to be a film composer because I heard scores that could stand alone, from 'Vertigo' to 'Star Wars' to 'La Dolce Vita,' because this music has so much history. They're weighed with the history of music. They come from somewhere, they have a past.

Western classical music is participative. Look at the number of people who are involved in a symphony.

Even in classical music, the cello doesn't get a lot of respect because the piano and the violin get it all.

All of the silent films had live music accompaniment, so it's actually a very rich period in music.

We've been performing with symphonies all of our career and it sounds so wonderful when they play 'My Girl' with the large string section, I want to turn around and look.

Some movies work really well with music from Bach or Mahler that existed long before the film, so music has its own autonomy.

I've been lucky to conduct the very best orchestras in the world: New York, San Francisco, Chicago, Berlin, the London Philharmonic.

I really like conducting my music in concerts because I'm convinced it's not just for films; it has its own life. It can live far away from the images of the movie.

I absolutely insist upon adequate rehearsal time - particularly for the pieces that orchestras know best. Because there, the tendency is not to take them apart - rediscover them - and you must.

It's a wonderful thing to play with symphony orchestras - I've played with many - but it's really special in Israel because you have so many great musicians.

I think that purists may regard the '80s and Jerry Goldsmith being the quintessential example of film scoring, but that was also a very prominent type during a time when soundtracks were purely songs, and there was very little score.

The soundtrack for 'Mr. Fraud' is classical with a decent level of fusion.