Eric Carmen Quotes

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

I wouldn't mind doing a soundtrack someday.

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.

I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.

Ellington is a writer and arranger, as well as a musician and leader. He does movie sound tracks.

I've featured in some soundtracks in the past, and I would love to do more. I love great soundtracks to movies. Quentin Tarantino always picks amazing soundtracks, so I would like to do something for him or write a song for him.

I think that... the age of just slapping songs into movies, that's done.

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

I've done some music for films and I really enjoy doing it.

I have a company in New York City producing music for commercials, for radio, TV, features, etc. That's how I've been making my living. And now the company is very successful - to the extent that I can afford to come out and play.

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.

I can write songs, I've had songs in movies, but I can't compose film scores, you know?

In movies, the composers and decision makers are different, so we don't come across classical songs often in films due to lack of interest. The decision makers are non-musical people, so one doesn't get to hear more classical songs in films.

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.'

When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.

Film music has given me everything - career and popularity.

The intelligent use of contemporary music in film has an enormous audience.

I think TV composers don't get enough credit. I really think it is one of the hardest jobs.

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

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.

I've done entire scores for I don't know how many films and series. I never kept track; I suppose it's up in the hundreds.

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.

You can use existing music in a film, but creating a soundtrack is very different. One note can be enough.

I feel we have a music industry within the film industry.

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.