Information is floating around really fast. I write something, or a piece of my music comes out and I see people writing about it on the Internet as if I'm having a conversation with them. We've never met, but somehow, my music is communicating something to them. Very often, it really makes them feel something.
Having the great opportunity on a daily basis to sit in front of a blank page is terrifying, and at the same time really exciting. I can't actually get better at my job, because every time you finish something you start with a blank page, with nothing.
I loved this idea of always being a foreigner. There's this thing where people bring cultures, bring the music together. I love it when the music, when the cultures collide and something sort of new comes out of it.
America is a magical place, and I think my job, or the job of a lot of us European filmmakers is to just hold up America to Americans and present it to you in a new way. All I wanted to do is in a funny way say, "Look at your country. It's magnificent."
The challenge in scoring a sequel is, how do you not get bored? The only way around that one is to go, "Okay, let's throw everything out that we had before and let's just see it as an autonomous movie, and let's just start again."
There's a power that movies and music has, that can move you and motivate you to look at your neighbor in a slightly more respectful way, and look at cultures in a more inclusive way.
As opposed to being on the Internet, there's something really nice about reading a book or talking to authors.
The main thing the composer needs to do is it needs to remember that the director is there to cheer you on. The director wants you to succeed because if you succeed, you'll be helping the film. And they are truly your conscience. And they're truly your guide.
If I play you a piece of music, that's when you can truly look inside me.
Hollywood allows you to go and express yourself.
The lack of education means, the lack of having something I can pull out of a drawer, means I have to find something in any movie I work on that is intensely personal.
When I was 13, when I was 14, when I was in England, yeah all I wanted to do was go and see The Who, go and see The Stones.
I try to communicate with the musicians the way I communicate with the filmmakers. I'm not going to say to them, can we be a little bit more presto here. Hang on, this should be a bit more exciting, or I try to explain the scene to them, or I try to explain the context the notes are supposed to live in.
I'm homeless, in a funny way. My culture I think is completely rooted in German 19th century music I suppose.
I think one of the things which always is forgotten in music class, is the first thing you have to do as a musician is you have to learn how to listen.
I'm a geek and I'm a nerd, and I can listen into any piece of music. I think, I can usually tell you what orchestra it was, I can usually tell you what hall it was in. I can tell you, obviously who the conductor was, and who the composer was.
You can only make a good noise on the guitar if you're committed. Little careful noise doesn't work. You have to be bold.
The honest truth is that it was just traumatizing with the piano, with the authority of the piano teacher, getting rapped across the knuckles, and so whenever you put a piece of music in front of me, there's a Pavlovian reaction where it starts off.
A violin is nothing more than a piece of wood and a dead cat. But it's a piece of technology. So when computers came along, in the '70s, I suddenly thought, hang on a second, this is interesting. These things can become an instrument. So I just became very interested in them, and started, playing with electronics.
I've never had a real job in my life. I didn't learn anything, I was terrible at school. It was just this thing. Music was all I wanted to do.
All music is based in one way or the other, or influenced through the ages, on technology.
I get all my good ideas sort of at one o' clock in the morning, and I tried for a while to behave like normal people.
I grew up in a house full of music, and a house that didn't have a television. We had a piano, but no television. And really, I very quickly realized that this was, you know, there was magic there, there was magic to be had, you could lose yourself in it, it was a refuge, it was joy, it was all of those things.
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