A Quote by Ennio Morricone

I have to see a definitive cut of the film before I even start thinking about the music, I tell the director what my feelings are and what I would like to do. He accepts what I say or discusses it or destroys it. Eventually, we have to find a compromise.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
I can tell what inspired the songs for me, or what I was thinking and feeling at the time. But I don't want that to be the definitive meaning behind the song. I like the idea that people can interpret, even if they're way off base. I'm rambling. I'm not good at talking about my feelings.
I'd say, if you want to be an artist, start with your art; start with making great music and it will, hopefully, eventually cut through all of the nonsense that is out there.
You will never see'Altman's Great Film of the Seventies: The Director's Cut' because you have never seen a film of mine that wasn't the director's cut. I have never permitted it.
To be honest, I'm not even thinking about America. If I was to start thinking about the enormity of 'Downton' and the size of the project, then I wouldn't be able to be very truthful to the work. I would start to watch myself too much. I'm not even thinking about it. Who knows what will happen.
I've never written a fiction before about real people. . . . I read everything that I could find by people who met them and tried to get some impression of them, but as always when you write fiction, even if you have completely fictitious characters, you start by thinking of what is plausible, what would they say, what would they be likely to do, what would they be likely to think. At some point, if it is every going to come to life, the characters seem to take over and start speaking themselves, and it happened with [COPENHAGEN].
I'm a huge fan of director's cuts or reassemblies if they're good, but I remember being really excited about the restored version of Apocalypse Now, and then I preferred the original film. Kingdom of Heaven as a director's cut is the real picture, but in fact someone recently told me that there was another cut, the original first cut, which he said was just extraordinary. I've never seen it - and of course now I want to, if it exists, and so would everybody else.
And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.
For me, it's not like I am going to look at the money the director's film has made before their film... For me, it is about working with the director whose work I have admired.
You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
You see so many movies... the younger people who are coming from MTV or who are coming from commercials and there's no sense of film grammar. There's no real sense of how to tell a story visually. It's just cut, cut, cut, cut, cut, you know, which is pretty easy.
I think that live music is really pretentious - all of it. I hate festivals and live shows, because as soon as I get on stage, I start performing for people and it becomes about sex, banter, and skill. They're looking at me and not thinking about themselves. I'm thinking about how cool I look. It's just stupid - all live music is really stupid. I wouldn't encourage going to see anybody live, ever. Not even me.
Directing is more what I would like to get into eventually. Frankly, I feel like it would be a waste if I didn't because I've spent so much time on film sets, and I know how they work, and I love them, and I love leading them. I would like to do that as a director definitely.
Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.
I can't tell you how many people would say to me as a teenager, 'Why don't you grow up and start thinking about getting a real job?'
I can't tell you how many people would say to me as a teenager, 'Why don't you grow up and start thinking about getting a real job?
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