Wes Anderson Quotes

I love touring, I love making records, but eventually all I want...I want to score. I want people to ask me to score their film or use my songs in cinematic ways. I think the ultimate media is a story that you can watch and feel and have a musical moment to. I think it's my favorite. I love watching something when music is creating motion within the motion.

I love writing every song I can like a little mini movie. I like to have a character, or some characters, and really paint a picture with the song.

It is very gratifying to see the music from 'The Lord of the Rings' trilogy find a new life on the concert stage as it is performed by different orchestras and choruses throughout the world.

For 'Drive,' we needed the songs to dictate emotions and really bring you into the mind of The Driver; he's a unique and complicated guy, so the music itself had to be unique and complicated.

When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.

Music is a big part of the director's life; Ms. Coppola's previous feature, a screen adaptation of 'The Virgin Suicides,' was informed more substantially by the score by the group Air than by the narrative.

If you're a film composer, you have the music tell the story of the character.

For me, the music is always speaking from the point of view of the characters. Rarely do you score an event.

When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.

What kills music in films is when it's done as performance, drawing attention to the fact that someone's in the background playing it.

We have no filter for music, but we feel it when what's being spoken and sung is telling a story and evidencing a character.

Walt Disney was a great believer in the use of song to convey story. He was primarily a storyman & story-driven songs were his 'pets.' He always asked what was going on with the song - he hated 'singing heads.' He loved learning about character & motivation thru music & lyrics.

I think that the next album is specifically for sure from Cry Baby's perspective, but it's not necessarily about her family-life or her love-life, or anything like that, it's more about this place in this town. The place has different characters in there, so in every song there's gonna be different characters that appear.

I love the opportunity to tell the story about the characters through the music.

Music helps define the character and is an extension of the character somehow, so that you are able to use both the songs themselves and the way that you sing them to tell something about the character and his story, as well as develop a performance style.

When you listen to the music in this film [Despicable Me], it's working on the level of melody, but the other key element is lyrics. There are a number of songs in the film where the lyrics themselves are very much speaking to the essence of what Ted Geisel was setting out to do.

You have to write a song around this specific character or to enhance a specific scene. A lot of other craft goes on.

Music was a big thing for me growing up and Scorsese and Tarantino both use music brilliantly in movies. They're probably two of the best at using music.

I like directors that give their composer a juicy role in their films. Some films have a small, minor role for music, some have a larger role.

Songs are like movies to me, and so you put yourself in the movie. You become a character in the movie. The new ones are exciting because they're fresh. But if it's not that, if the story is not what you get into, maybe it's the crowd response. You hit the first chords of 'She's In Love With The Boy' and 20,000 people start to scream, you're pretty motivated. You get what you need. And it's a great story. It works.

The international reach of Fringe still catches me by surprise a bit, at times. Also, I was given the gift of a character that is every actor's dream. So, you combine those two factors and it's been an incredibly memorable five years.

The score is always the wonderful icing. The score tells you the emotional content of the film. What the characters don't say, the music can say.

As an actor, I have to watch people and observe their behaviors - this is how I create characters.

In all my songs, I take on roles and play characters. It's a unique way to explore ideas and decisions I might not think or make in real life.

In folk music, I've always been fond of the fragment. The song that has one verse. And you don't know anything about the characters, you don't know what they're doing, but they're doing something important. I love that. I'm really a sucker for that kind of song.