Fay Wray Quotes

I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.

Aame' is a new attempt. The entire film was shot using live sound technique.

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 treat recorded tapes the way a film director treats his rushes.

I'm really into the way sound works in film, and I did a little bit of sound design for theater in college.

When I make records I have full control of everything and I know how it sounds before it comes out, with films it's outta my hands.

We just set it up and recorded it the way we played it. But that was the way we played it then.

I've had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don't have to rent, I don't get stuck with the bills, it's all mine.

With a film, you try to keep your vision in it. I think with 'The American' and 'Control' I managed to do that.

Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.

The dubbing of the music and effects is really incredible today. You're feeling gun shots. I mean, it's not the way people say it is, but the gunshot sounds real. And cars sound real. Among the many things in the evolution (of movies) is to make the sound in the movie incredible. That's what you feel.

Radio allowed me to be a creator, and TV stole that creation from me by literalizing - and to some extent limiting - my vision.

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.

I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way.

As a director, you never think about how an audience would respond. You can think about that, but you will never change what you're going to do.

When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.

I used to have a radio show. That's how I started foolin' around with recording.

I love writing music for film and TV, but putting it into a video game is twice as fun because it needs to be repeatable and joyous.

If you can get your movie made the way you want to get it made, no matter what the end result is going to be, if people are going to see it, that's awesome.

If you talk to any filmmaker, and if you said to them, 'I guarantee you x amount of money per month for the rest of your life, and it's not a big amount of money, but I can also guarantee that you will work continually, you will get to make what you want to make,' any filmmaker on the planet will make that kind of deal. I would have made it.

I grew up in the indie world, and that's what I'm used to, but there's something really incredible about having money behind a film and having the time to do as many takes as you want.

If you just want ten songs to fit somebody else's script, then I'm not really the composer for that.

I like shooting locations just because too much control on the stage can be a bad thing.

I think that, again, filmmaking is the director's medium in the end, and the best thing a producer can do is stay out of the way and support the director one hundred percent.

Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.