Orchestral Arrangements Quotes

I think somewhere in the back of my mind I've always wanted to make a whole swing album.

To this day, I still travel with scores. Every time I'm on a plane - it could be Stravinsky or Mozart or Ravel.

Every time the mainstream media talk about progressive rock, they wheel out a clip of Rick Wakeman in a cape. For me, it's one of the most ambitious forms of music. The problem is that when it doesn't work, you end up with Emerson, Lake and Palmer doing symphonies with 60-piece orchestras and revolving pianos, which I think is ridiculous as well.

I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.

Our music over the years has been very cinematic. It's surprising we never really got into film soundtracks.

I always wanted to be a film composer. So very early on I started collecting soundtracks and paying attention to how movie music works. Actually I'd like to have the opportunity to conduct for the rest of my life.

Bach in general was so good with the violin. He just finds the genius way around his music on the instrument.

I never shied away from a challenge and I love doing big, epic films. They're interesting to me just on a pure music level, just in terms of the amount of music I could create for a symphony orchestra and chorus.

And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.

I'd love to do film and soundtracks, and you couldn't do much better than James Bond.

When you talk about the Final Fantasy series, the series started selling better after 7, and that was the base idea for the center of the set list for the LA concert.

I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.

I've done shows with orchestras, and I like writing with orchestras.

I've been extremely lucky to work with Elmer Bernstein, Howard Shore over the years, but I've always imagined films with my own scores, because I don't come from that world or that period of filmmaking. And so how could I make up my own score on a film like this where it isn't necessarily made up of popular music from the radio or the period; it isn't necessarily classical music. But what if it's modern symphonic music?

I would love to do an album of standards!

Because usually in the past when I was in a big band, that was all I did.

My first album, 'Englaborn,' was based on music originally written for the theatre. My solo albums, like 'IBM 1401, a User's Manual' and 'Fordlandia,' have also had narratives attached to them.

I've recorded a few Bacharach songs over the years and performed some in concert and always felt they suited me.

I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet.

Mozart's seeming frothiness is just a light touch with very profound material. That's what I've found working on 'The Magic Flute.'

We made 'Wretched and Divine,' and as much as I love it, it's a pretty sparkly record - it's a record that could be done as a play because it's very theatrical with no grit.

There's sort of an open offer to work with a guy in Los Angeles who does big band and orchestra arrangements who was at least an acquaintance to Les Baxter before he passed away.

I purposely try to make my music cinematic. I try to inspire visuals even though I'm only an instrument of sound.

We built something very special with Gaslight, and we don't want to mess with that sound too much. But I've always wanted to do a record where I can put strings or organs or pianos or whatever on it.

Lion Face Boy' is the first single from Seabear's sophomore album, 'We Built a Fire,' and it's a perfect display of the band's knack for constructing mountains of instrumentation on a simple idea.