Score Composition Quotes

'River of Light,' to a dense but powerful score commissioned from Charles Wuorinen and with ravishing lighting by Mark Stanley, has depth and resonance.

There's a lot of money in doing score music. You can get a chance to get nominated for an Oscar; I would love to get nominated again.

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

I finally wasn't interested in writing music that played while actors talked.

I've been doing a lot of music for films and television for quite a few years.

I had a talent for scoring films. I just developed it.

So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.

When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.

I never use soundtrack; it is always part of the story.

They're all my children... every score I've done.

I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.

Ah, 'Kismet,' or Carry On Camel, as we called it. I thought the show was shocking. It was the worst designed production ever but it's got a fantastic score. It's not an awfully good book though. You really have to work hard to eke out any laughs from that 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.

If there is a possibility within a film to have a song in the music score that adds a little bit of zing to the music album, then why not utilise it?

Hopefully each film can be given a musical voice of its own, which is not to say that the instrumentation is always unique, but that the relationship between the sound and the image is unique.

Lemuel Ayers had had a huge success producing and designing Kiss Me, Kate. He wanted to produce this as a musical. I got the job. It was a professional score.

I think people use temp music quite a bit, but the people who write the temp music don't ever really learn that their music was inspiring a movie.

Classical scores go up and down; they're kind of hysterical in a way. And movie scores are much more - they just drive and move forward, and they build and can't go up and down at that same speed. It's a big job to turn that into something that pushes the movie along.

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.

I grew up on film scores and scores from films.

I wanted to be a film composer because I heard scores that could stand alone, from 'Vertigo' to 'Star Wars' to 'La Dolce Vita,' because this music has so much history. They're weighed with the history of music. They come from somewhere, they have a past.

You go through different stages when you're working on the music in film. At least, I do. You have a temp score, so you have music from other people, usually from other movies, to give you a sense of what the mood is supposed to be, what the atmosphere is.

Some of my favorite scores include Bernard Herrmann's Hitchcock scores.

The beauty of a main title is that you establish your main theme and maybe a bit of your secondary theme. You plant the seed that you're going to go water later in the score. And so, having that removed just made it so much more difficult.

I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.