A few performances have been left out of the various Woodstock soundtracks and film edits over the years, most notably The Grateful Dead.
For me, jazz will always be the soundtrack of the civil rights movement.
It's funny, if you go back and look at all those old movies a lot of times they didn't have the budget for music. Each scene here was written to a different time, whether that be 'Breakfast in America' or just different soundtracks that we had for different parts of the movie. I'm interested to see how it all plays once it's all put together.
If the song was upbeat, we'd get out a funky Harry Connick, Jr. album, some Louis Prima big band, or a Bob Wills swing record for inspiration and swing for the fence, hoping to get that 'soundtrack to your life' vibe. And if it was a slow song, we'd go the other way and really make it worshipful.
I have tried to write soundtracks, and the main problem with those was that the directors often had in their minds a much stronger sense of what they wanted to hear, than what I was willing to give them, and I guess there was no way to say, "Well why don't you write your scene around my music?" Because that's just cocky and awful.
I do feel like my music, in some weird way, is probably better suited for cinema than for anything else - I can't really explain, other than I think that music has been mostly inspired often by soundtracks.
The music I was writing for 'Hamlet' needed to be very simple because there was so much going on with the dialogue in that play, so I felt like the music had to complement that - so that carried on through; I was working on the soundtrack and the album simultaneously.
I think if you write music for soundtracks then sometimes you do something that you could never do if the film did not exist.
If I wrote something just for a musician and not for a soundtrack I would have no inspiration from scenes or from the story. It's like if a painter sees a beautiful scene and he paints it. If he's in his home it's not the same.
The only thing you can ever ask for is that, like what I was saying with memories, that somehow my music can fit into somebody's memory. If it can be the soundtrack to somebody's happy days then that would be amazing.
My daughter could do and be anything, without having to fight to get through the glass ceiling. Without having it be so extraordinary. If my daughter went to produce a soundtrack for a movie, there would be nothing extraordinary about a girl doing it. When I did it, it was highly unusual.
After working as a producer on many pop, electronica and some soundtrack, incidental music projects, I became more focused on film and TV scores.
Music is very transporting. I'll hear a song for the first time and I rarely listen to the lyrics. I picture that song playing as a soundtrack to a movie, or even just in the background of someone's life. This all sounds weird, but I have an active imagination, and music opens the floodgates of that area of my brain.
I have to have music as a soundtrack to writing fiction. I listen to it at other times, too, but it helps me write.
Frank Sinatra turns 100 this year and his music has been a major player in the soundtrack of my life. So it's only right that I return the favor and pay it forward.
I do enjoy my solo time ... I want to stay home and do soundtracks and watch TV in my underwear with a keyboard on my lap and just be a couch potato.
The fabulous side of Taboo was dressing up and dancing like no one was watching you. There were no rules. You had Jeffrey Hinton playing every kind of music. It was like going back to when I used to deejay at Planet in '79, where you'd mix in nutty things like hip-hop or reggae or The Sound of Music [1965] or other film soundtracks - whatever.
I guess many game music fans prefer original soundtrack albums.
I don't want the giant ego. I don't want to become Kevin Costner, singing on the soundtrack to The Postman.
I hate people walking down the street listening to the soundtrack of their lives which responds to them but not their setting. I hate the overspill of sound which metro and subway riders are oblivious to because they notice no one and nothing around them.
I don't listen to music when I write, but I do turn on appropriate music when I read portions of my manuscripts back to myself - kind of like adding a soundtrack to help shape mood.
Sometimes when you are standing still and it’s snowing, you think that you hear music. You can’t tell where it’s coming from either. I wondered if we all really did have a soundtrack, but we just get so used to it that we can’t hear it anymore, the same way that we block out the sound of our own heartbeat.
I think I've done more recording in the past 10 years than most people, but it's all been directed toward film composing and soundtracks. Just the same, it's been great.
I wouldn't mind doing a soundtrack someday.
It's remarkable how a soundtrack can be so important to the storytelling and the experience. I think the music is going to make people see the movie a lot. The music is going to make you want to go see it again. You have so much fun in the movie, and it's music that you want to share with your kids, anyway.
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