Eric Fellner Quotes

When you're working on film music, you're only working on 20, 30-minute sections at a time.

To make a film, the final big collaborator that you have is the composer.

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.

I'm usually the last man on the totem pole. Except for the sound effects and the final sound mix, the score is the last element to be added to a picture.

Godzilla' took two months because it required a two-hour-plus score. 'Imitation Game' was three weeks.

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

In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.

I really wanna get my paws on scoring a film.

You can have music and it will stand alone by itself, but you can't have a movie without it.

Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I don't understand why this happens in the movie industry.

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 have done songs here and there. But I have never scored a film. That is something I would like to do at some point.

Normally, when people compose for film, you give them the film, and they look at it, and they compose it.

I wouldn't mind doing a soundtrack someday.

The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.

When a piece is done, I mix it before going on to any other piece.

I've not used a score in any of my films so far.

I'm pretty proud of my film music in general.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.

I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.

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.

For me, shooting, editing, and scoring rely on rhythm.

And I think that I'd be a natural for scoring horror movies.

Working in Hollywood for the orchestra world is a very time consuming and laborious job.