Most film scores have one vibe, and they stick with it.
I think it's a big deal to have a great soundtrack for a movie.
If you talk to any director, they'll say music is fifty percent of the movie.
One of the first things I want do when I start writing music for a film is to create its own sound world, its own music world.
Beautiful film music can be made relevant to any period.
John Ottman's music has emerged...as a brilliant new sound in the spectrum of Motion Pictures.
Music is half the film.
My favorite soundtrack is 'Avatar.' It's the best thing in the world. I love it.
The music for 'The Departed' could have been played by an orchestra, but you make a decision about orchestration based on the context of the film. You want the music to broaden the scope of a film, not just repeat what you're seeing.
Music and film are inseparable. They always have been and always will be.
My films are musically inclined.
I'm a big believer in supporting the action on film with the appropriate music. It covers a multitude of sins. It's gotten me out of a lot of jams, over the years. So, music for me is a very big thing in films and I use it unashamedly.
I purposely try to make my music cinematic. I try to inspire visuals even though I'm only an instrument of sound.
It's got to feel, the pulse has to feel like this part of the world, the instrumentation has to be true to that, and so, between him, [composer] Mark Mancina and myself, we really chased that, while serving our story Moana].
My darlings, if I can't write dark, epic music, I can't live!
When people think of a Hitchcock movie, it isn't just the visual, it's the sound.
Music is the life of a film.
Yeah, musically, from a production standpoint my favorite is probably 'Have a Little Talk with Jesus'. Just the way it turned out production wise with the clarinet and everything, it sounds like something from a movie.
I love the comparison with Aaliyah and Timbaland, because Aaliyah is a legend, and there is a large cinematic feel to Timbaland's sound, but what I do is different.
Music or sound in a film is a character as important as another character.
I very much enjoy working with talented filmmakers who have a good sense for music, who have a strong feel for music and for what music can do in a film.
Conception of a film starts with the music. Always. I hear the movie before I can ever write it. I would say that 80% of the time, that's the successful stuff. It's the other stuff I have to work for to get right, and sometimes it doesn't work out, but the music is always the beginning. So I'm still a music journalist.
I'm always trying to experiment and come up with new palettes of sound and new combinations of music that you haven't really seen or heard in film before.
I listen to music cinematically. I think about music and how it would make me feel when it's put to an image, a moving image, and I love it.
The goal is to make the music really a part of the skin of the film, and not be detached.
