Ludwig Goransson Quotes

I design music; I don't produce it.

One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.

Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.

A lot of the music editing job is communication and working out what a director really wants the music to be.

I'm not an expert in instruments, beat programming, or electronics. For some people it's all about doing it themselves. But for me, it's all about find the people that can help make my vision come true.

When I'm in a session with an artist, my job is to help execute their vision - so it's whatever story they're telling, and the news doesn't specifically affect that.

I have to be honest: I think production is mad - exciting - because, of course, you're creating the record. When you're a singer, you're just singing. Creating the music, directing, and seeing where it's gonna go in production is very, very exciting.

Working as a producer, an arranger, and, in some cases, as a writer for some other people gave me a super different perspective.

Great musicians need great producers. The Beatles had George Martin.

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

I've always wanted to go into film scoring.

It is quite normal these days to record a song in the absence of the composer.

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 like being in a recording studio. I like watching a song go from the simplicity of the original music.

I tend to start with a full set of lyrics, and then my producer, Joel Little, and I work on the music collaboratively.

I love putting the music together. It's like art.

The first two projects I did out of my dorm room were mock film soundtracks.

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

A lot of the stuff I've accumulated over the last few years of touring I thought was really interesting. Like sounds, sound bites, and beats even, but they weren't good dance beats they weren't ones anyone would want to rap over or anything.

I spend a lot of time working in the studio as a producer, not just a singer.

I think I've done more recording in the past 10 years than most people, but it's all been directed toward film composing and soundtracks. Just the same, it's been great.

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 know what it takes to put a record together, so I'm not looking for people to come in and shape it.

I sit and write songs alone and then get together with people to help me flesh it out into a recording.

I don't think there is anything hard at all about having a lot of songs. It makes it easier to be less precious about them, and know that everybody's going to want to work on some of them.