Music is the subliminal connecting adhesive in film, or at least in narrative feature films.
Death is always around the corner, but often our society gives it inordinate help.
I'm one of those people who is actually inspired by a deadline. I might not sleep for many days on end, it may not be good for my health, but it definitely helps.
I think I've only done one horror movie, Psycho III. That was a walk in the park compared to a romantic comedy.
I like business and personal life to be distinct.
I had piano lessons when I was a kid, like most people. And hated them, like most people. And quit, like most people.
John Barry was my hero when I was about 13. His scores to the James Bond movies were the scores of my life back then.
If not bliss, ignorance can at least be fun.
Any film which views the darker side of life, which is death with a sense of humor, is very much to my taste.
How does my music connect to an audience? That is just a complete mystery to me.
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.
Connection is what one is after in probably most media, but certainly in film, which is an immersive medium.
Carefully execute every instruction given to you by the director, producer, and studio. But that would be a life not worth living.
I don't generally find myself listening to the music of a film unless there's something awfully wrong with it.
Los Angeles is an industry town, and it has great facilities and personnel. The disadvantage is that everyone there seems to talk about the same subject matter.
There is not much irony when people are being happy on screen.
In mainstream romantic comedies, I'm usually tearing my hair out. It's just a devastatingly difficult genre for me.
I just love the sheer mess of New York.
I would like to do a science fiction film some day. Star Wars seems really to have destroyed the genre, which at one time offered great musical opportunities.
I think being a little nuts is helpful.
I don't personally see my work as being dark. What interests me is a balance between light and dark.
I almost never try to make the audience comfortable. I wouldn't want that if I were in the audience.
On Being John Malkovich and the cinema of the absurd, I do enjoy it. I wish there were more like it. The very fact that there can't be more like it is one of the reasons it's admirable.
Conducting, I tried it once off the cuff, and quickly realized there were subtle aspects that I was missing. There is a lot more to it that I was able to grasp simply by watching conductors.
When the systems we expect to help us actually hurt us, we have tragedy.
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