I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.
I've always listened to a lot of film music, actually.
I just called to say, 'I love you.
Gentlemen, you can't fight in here! This is the War Room.
Select only things to steal from that speak directly to your soul.
Select only things to steal that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent
Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination.
Film music should have the same relationship to the film drama that somebody's piano playing in my living room has on the book I am reading.
Fear is a problem with film music and films; people want to be conventional, and there's more commercialism today. If you are not daring in your art, you're bankrupt.
Although I enjoyed writing Film Music it was always a means to an end, in that it enabled me to keep a wife and family and write my classical music, which has always been my passion.
I'm pretty proud of my film music in general.
I always said when I was younger, I wanted to write film music, and I think that's what my ultimate dream is.
I'm not afraid of being thought of as someone who is associated with film music. Why not? If it's a good song, what does it matter?
I don't listen to Bollywood music much. But yes I listen to Indian music quite often and other non- film music.
I want to do television, film, music and designing. I want to do it all!
There's a whole gamut of things to do with film music that don't apply when you're making a record or if you're writing a concert piece or something.
As a conscientious objector I did my community service in 1971 in a psychiatric hospital and a friend there, who also was a guitar player, invited me one day to join him recording film music with a band named Kraftwerk which I didn't know at the time. I came along and jammed at this session together with Ralf Hütter and a drummer (I believe his name was Charly Weiß). Florian Schneider and Klaus Dinger were present as listeners and everybody liked the spontaneous music we did together.
The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted.
After moving to Los Angeles in the early '90s, I started looking into "music for picture" more seriously and in broader scope. My collaboration as a programmer and arranger with Graeme Revell exposed me for the first time to the full spectrum of film music, including the hectic demands of orchestral scoring and the power politics surrounding the finalization of any score for a major motion picture in Hollywood.
It is really amazing to be able to do cinematic, big feature style film music on a weekly basis and do it in LA, on a big scoring stage, on a studio lot, and do it with the right players and make it sound great.
or simply:
