Danger Mouse Quotes

In the future, I kind of like the idea of doing music for film. I think that would be a nice job. I've always liked the sound aspect in movies. I guess once I have more instruments under my belt, it could be something I could do.

I've always wanted to go into film scoring.

I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.

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.

When I started working on my own music, I didn't have the chance to record in a big music studio, so I had to record everything myself.

I am always working on new material with my production partner Phil Murphy in our guise as Man Ray; we do a lot of soundtrack work & some great collaborations.

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?

For me, what people generally call sound design is just one component of orchestrating a score.

It's not unusual to have only three weeks to score a picture. And that's three weeks from signing on to finishing the last recording session. That's how I did 'The Queen' and, more recently, it's how I did 'The Imitation Game.'

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

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

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.

It's lovely being a producer. It's really a lot of fun and I can learn a lot.

I've been doing a lot of music for films and television for quite a few years.

Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.

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

That was probably the stamp that went into my mind, because I worked in television for many years, doing that kind of music, so that really was my strong forte.

My partners are Gourov Dasgupta and Roshan Balu. Together, we're 'Superbia'. I've already signed some film and non-film assignments.

I realized I liked being in the studio and working on translating the ideas into recordings.

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

It's not the music you hear in your head that other people are going to hear. You have to be able to make it true enough to the image in your head, and that's where technique and technology come in, for sure, and knowledge. It's not true and will never be true that someone who knows nothing can sit in a basement and make great music.

I would be content if I had nothing but a tape-recorder. I could still write songs and record them.

My profession is called record production.

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.

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