Tina Weymouth Quotes

I've been writing music since I was a teenager. I play keyboards. I'm not much of a player, but I can write. That will come along. I'd like to do a musical.

That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos.

I write music to both the situations and the lyrics in plays.

I write the music, produce it and the band plays within the parameters that I set.

My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.

I would do the occasional score. I thought it was the most thrilling thing. It was instant. You made the music and they played it right away to millions of people. I found it thrilling.

Lyrics can't do what they do - or should do - when you're creating a musical with rock lyrics. There's plenty of room for rock musicals, just not all rock musicals.

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

I'm not going to play funk licks on a jazz album. That makes no sense.

I consider myself a composer.

Generally, I like Indian music because the melodies are usually not too complex, which is how I like music, and that's the way I write music.

What came to me as a revelation was the use of rhythm in developing an overall structure in music.

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.

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

I am the pianist of the duo, although Aleksey does pretty good... you know we've written more and more stuff where he has to play the piano. But you know, to be very honest, I actually went into music because I wanted to be a composer and a conductor. And piano was just one of the ways to get into that.

When I think of Morricone, more than his using a specific instrument or a specific sound, it's his way of approaching music that sticks out.

I love making music. I love being involved in arranging music. It's very natural to know what I want to hear next and come up with ideas that are variations of what might be good.

I think my music has always been a mixture, depending on whom I'm working with - what band, what musicians, what producer.

I probably belong to a type of composer of songs who keeps thinking about melody... I am old fashioned.

My wife is a classically trained piano player, and she also orchestrates.

The idea of having one ensemble do everything is what was on 'Sea Lion' and that's what I tried to make happen for 'Metals,' which is having five people in the room and all of us contributing equally to every arrangement and every song.

In the film work, I love to work mainly from the script and from talking to the directors, so a lot of the music, big portions of the scores that I've made, have been composed before the movies were even shot.

Composing music is hard work.

I don't regard myself as a soloist. It's a color; I put it in for excitement. It's not great loss if a solo has to go. We've made songs without solos.

In a band everyone plays their part, and I look at production the same way.