Movie Score Quotes

When I was working on the music for this I didn't want to just use pop songs as the score - most movies do it and I've done it before.

When I was composing for 'The Villain,' I looked at it as a fan and came up with tunes accordingly.

I scored a movie called 'Endangered Species'. I worked on another movie called 'Staying Alive'. A German film called 'Fire and Ice'.

I'm very proud of 'That Kind of Woman' with Sophia Loren, directed by Sidney Lumet, and I loved doing 'Gunman's Walk' because I finally got to play a bad guy.

The score, which comes often quite later in a film, can help reinvigorate your emotional engagement with it.

In the old days, all the movie songs were recorded right there on set.

In the future, I kind of like the idea of doing music for film. I think that would be a nice job. I've always liked the sound aspect in movies. I guess once I have more instruments under my belt, it could be something I could do.

I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.

'Braveheart' is one of my favorite movies, and to be part of an epic sprawling period film is on my bucket list: something with some grandeur to it, a really awesome score, something that's just kind of moving, you know.

For many different reasons, my number one favorite horror movie is 'Halloween II.' I love the way it's shot, and I love the way the synthesizer sounds on the score.

I met the Colonel when Elvis was recording some song I'd written for one of his movies. Elvis was just having fun with the gang and all the Memphis boys and Colonel Parker was sitting over here in like a theater seat.

The job, when you write film underscore, is to be ignored. That comes with the gig, no question about it.

You can have music and it will stand alone by itself, but you can't have a movie without it.

We were contracted to make a soundtrack album but there really wasn't enough new material in the movie to make a new record that I thought was interesting.

With 'Iron Man,' I have to give Jon Favreau great credit for the score because he always said, from the beginning, 'Tony Stark is a rock n' roll guy.'

I loved working with Chris Nolan. I love working with Lawrence Kasdan. Dan Gilroy. Francis Lawrence I love.

The score I always have on heavy repeat is 'Raiders Of The Lost Ark!'

My first score for 'The Lord of the Rings' trilogy, 'The Fellowship of the Ring,' was the beginning of my journey into the world of Tolkien, and I will always hold a special fondness for the music and the experience.

In film, I was surprised when I first saw the movie 'Drive.' I said, 'Oh, God. It sounds great - I love it. Wow, this could be the soundtrack from 'American Gigolo' or 'Cat People.' But I'm surprised that the director would agree with a composer to write that kind of sound.

I did some songs for Baz Luhrmann's The Great Gatsby. I had done a jazz album of Roxy songs, and they used bits of it in the film. It would be nice to score a movie one day.

I believe very strongly in having melodic hooks, whether they're short or intricate, that you really remember in a movie.

Godzilla' took two months because it required a two-hour-plus score. 'Imitation Game' was three weeks.

A good score should have a point of view all of its own. It should transcend all that has gone before, stand on its own two feet and still serve the movie. A great soundtrack is all about communicating with the audience, but we all try to bring something extra to the movie that is not entirely evident on screen.

It's hella crazy being included in the music for the 'Ninja Turtles' movie.

Any composer should be able to synthesize the primary feelings that the characters are going through in the movie.