Cinematic Soundtrack Quotes

I love the conversation between film and music.

Most film scores have one vibe, and they stick with it.

It's fun to take songs from a completely different context and reframe them. We did two mixtape albums called 'Other People's Heartache' and 'Other People's Heartache Pt. 2,' which were full of those kind of covers and mash-ups, mixed with film music and film quotes.

The sound and music are 50% of the entertainment in a movie.

I've always been a film lover - that's why I've always wanted to write music for films.

It is hard work composing a song for a film and showing it to makers: 50% of the tune remains the same, and the remaining 50% is changed to suit the script.

What's amazing about 'Game of Thrones' is that it's set in a fantasy world; it's a fantasy story. So I always say that with the score, we're open to do whatever we want.

You can get away with a lot more in a film or television score. It is contextual.

More than influences, my music is based on instincts. I make music to match the script and the world of the film.

I chose 'Time' by Hans Zimmer because it's very melodic, and the way it progresses throughout the track is very unique. I am personally a very big fan of piano melodies, and to me, 'Time' is just perfect.

In this movie, 'Jigarthanda,' audience can feel it as English movie because this BGM is totally different from Indian background score.

Jerry Goldsmith's 'Voyager' theme is a brilliant reworking of the original material.

The main difference I'd say is that European cinema has always used less music than American cinema for historical reasons.

Some producers hang-on to that old cliche that if the audience hears the music, it is no good. I say this is so much talk. Music gives the film another dimension, if it's done with the story in mind.

I think of each movie as a puzzle. The fun is in solving the puzzle: finding a musical identity for the picture, however that can be summed up.

I'm not a script composer. I'm a film composer and my brain is excited by images and moving elements.

A good film demands its own score, and if you are a musician, your conscience will never allow you to do something mediocre for a good film.

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.

In the case of 'Shape Of Water,' I want it to feel like a song. I wanted people to come out of the movie humming the movie.

One of my biggest goals in writing the music for 'Fantastic Beasts' was to create memorable melodies. J.K. Rowling's world has always had a great musical legacy and I was hoping to continue that tradition.

I also used these realistic sounds in a psychological way. With The Good, the Bad and the Ugly, I used animal sounds - as you say, the coyote sound - so the sound of the animal became the main theme of the movie.

Music, for me, in a film is never... I don't want to use music as a slave of the image. I want music to be art, or a body in itself to give something to the film.

If you notice in my own films the blending of songs is distinct. They narrate stories and scenes.

I never dreamed of writing for concert or opera. I always dreamed, if I was a composer, to write music for films.

Usually when I am approached to do a score for a horror movie, it's to attempt a repeat performance of what I did way back on 'Hellraiser' or 'Jennifer 8' - one of those really orchestral scores.