A Quote by Alex North

My best film composing experience was with Elia Kazan. — © Alex North
My best film composing experience was with Elia Kazan.
Elia Kazan. He wrote my favorite book about filmmaking, 'Elia Kazan: On Directing.' There is a thing in the book that I do every time, it's part of my production structure. He said when you're hiring an actor, ask them what draws them to the project, and don't lead them to the answer.
[Warren's Beatty] first film being with this very important director [Elia Kazan], I think we related on that in a big way. And I just was genuinely curious about his experiences in film, and about the people he knew.
I studied with Strasberg, Elia Kazan. They raised the bar. They weren't easy to please, and they made you achieve the best you could do. That's what a teacher does: he infuses you with passion for something.
Elia Kazan understood my problems. He was able to bring out the very best in me. He gave me credit for my intelligence.
For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.
'A Face in the Crowd' is Elia Kazan's forgotten movie.
Warren [Beatty] loves to talk about his experiences with [Elia] Kazan.
Elia Kazan - the films he made were such a big deal for me when I was growing up.
My heroes are guys like Frank Capra and Elia Kazan and Coen brothers and Terry Gilliam, more so than a lot of bass players at this point in my life. So I've always been an old-film nut and have very much enjoyed doing videos over the years.
I trained as an actor with Lee Strasberg, Elia Kazan, and Harold Clurman, and those guys set a very high bar.
I have a bit of an obsession with the 1950's and all those actors from Montgomery Clift to James Dean and Anthony Perkins. Just that whole era of Tennessee Williams to Elia Kazan.
Subliminally, I had always wanted to act. Although I had only performed in a couple of plays, I was serious about it and was subsequently trained by people like Lee Strasberg and Elia Kazan.
Composing is to think. It is to have your mind trying to find what is the best sound that the movie is going for: the best melody, the best texture, the best structure and dramaturgic arc for the film. Then you discuss that with the director. He's the leader. He's the one showing you the path to follow to find the soul of the film.
I met my wife and, for the next ten years, we did no films at all. She did the first movie and then I did several after. My first movie was written by Tennessee Williams and directed by [Elia] Kazan and was called Baby Doll.
Composing for concert performance is a somewhat lonely occupation, but composing a film score is highly collaborative.
The movie I've watched a million times is 'A Face in the Crowd,' directed by Elia Kazan, starring Andy Griffith and Patricia Neal. I first saw this movie, I guess I was in my early 20s. I'd never heard of it, and somebody told me about it, and I watched it and was just completely jaw-droppingly shocked at how current it was.
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