Ludwig Goransson Quotes

I listen to Morricone, the famed Italian film composer, while I'm working.

I've always listened to a lot of film music, actually.

I grew up on film scores and scores from films.

Because of John Williams, I began collecting all kinds of film scores. I listened to them when I fell asleep, and it was through my obsessive listening that I learned what all the different parts of the orchestra were. I learnt a great deal from him by just simply listening.

I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.

I love to listen to lots of different genres of music, but mostly movie soundtracks and music theater.

Our music over the years has been very cinematic. It's surprising we never really got into film soundtracks.

I have the soundtrack for 'A Clockwork Orange,' which is kind of cool. I guess I don't really end up buying a lot of modern soundtracks. Another soundtrack I love is from a French movie called 'Betty Blue.' it has some really melancholy piano work.

'Grease' was how I learned that I really liked music and musicals and movies that included music.

John Barry was the first film composer I was aware of. As a teenager I owned several of his Bond soundtracks.

I've done a lot of movies that don't have any music in them, and I've always sort of had a kind of wary attitude about music because it can be so manipulative, and also because with pop music, I feel like everybody kind of has their own relationship to songs.

My first super-worn-out tapes were Michael Jackson's 'Bad' and the soundtrack to 'Dirty Dancing.' The soundtrack to 'Dirty Dancing' is actually really phenomenal.

I was never that into the movies. Never. Even as a youngster. I became interested in movie music only because of the studio orchestras in Hollywood.

Indiana Jones is old school; we've moved on from Indy. Sorry, Harrison Ford.

I mainly listen to the music that's playing during movies. It can be the theme to 'Pirates of the Caribbean,' 'The Equalizer,' stuff like that. I like the blend of orchestra with modern instrumentation. It's something that I've wanted to do.

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.

Jerry Goldsmith, I have to say, is my single favorite composer of all time. He was one of the most innovative guys ever to do it. You go back to 'Planet of the Apes' and it is just a monumental score - the sound design and approach to percussion was just so extraordinary. One of his great scores for me was 'Alien.'

Soundtracks are made all the time that die horrible deaths - even soundtracks for popular movies.

Some of my favorite scores include Bernard Herrmann's Hitchcock scores.

The first record I bought was the 'Edward Scissorhands' soundtrack. I remember being really obsessed with the movie, and all the campiness sort of went over my head because I was so little - it's the same with 'Hairspray.' But I would listen to that soundtrack a lot.

I always loved movies like 'King Kong' and 'Planet of the Apes,' monster movies, Ray Harryhausen films, all of that stuff. I always loved the music in them, too.

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.

Film music, over the years, has taken from everybody.

A lot of Ennio Morricone's music is just - it's very soulful, very cinematic, and very psychedelic.

In the West, film music is completely different and independent from their popular music. The two industries are separate and don't interfere much.