Brian Eno Quotes

The atmosphere defines the environment of sound.

The sound world that I created for 'Avatar' had to be very different, really, than anything I ever created before. There is also three hours of music.

Obviously for some people there is a big connection between music and the way you can create a space.

The whole background of 'Avian' is rain. I was just playing with textures and realizing you can touch music.

When I started working on ambient music, my idea was to make music that was more like painting.

There's always so much more that can be conveyed on screen visually in the expressions of people's faces, in their bodies, in their body language. And also with sound design, with music.

I love to hear a cool ambient sound at runway shows. It creates a good energy.

Music was a vector that we wanted to build a universe around.

More than just music, the splash of water or a lone footstep can put you in the moment. Sound is just another tool in the developer's toolbox to draw the player further into the game.

I see music as fluid architecture.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

Music is the subliminal connecting adhesive in film, or at least in narrative feature films.

One of the rules of the road is that if you want to create the sense of silence, it frequently has more pungency if you include the tiniest of sounds. By manipulating what you hear and how you hear it and what other things you don't hear, you can not only help tell the story, you can help the audience get into the mind of the character.

Everything I listen to is influential in some way.

The conception of background music is changing. You use less and less of it these days.

Sometimes, scenes are great without any music at all.

When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do.

The music aids the message, it's there to punctuate and abbreviate and shape the silence.

To me, sound is a crucial component to, really, any moviegoing experience, but particularly with suspense films or thrillers. I think you need the audience to become subtly really attuned to the soundscape in, like, this uncomfortable way.

The world is full of sounds. We just don't usually hear them as music.

'Badlands' is a very tangible record; a lot of the sounds were actual things: they were pots and pans, and they were rocks, and they were voices, and instruments used in a way to create a landscape of sound.

With 'Midnight Special,' the sound was used as a narrative construct. The audience is looking in one direction when a sound suddenly erupts from the other direction.

I wanted to hear sounds of everyday objects - even musical instruments - as things.

There were certain things in 'Nemo' - just this low hum of ocean and watery sound - that was enough to imply water, as opposed to restating it over and over again.

Music is magic.