A Quote by Alexandre Desplat
I think great scores have to be noticed, but they're wrong when you hear the music come in.
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My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.
I worked on scores. I went to the musical library in Berlin which is very famous. I discovered that we had scores of Beethoven, printed scores of Beethoven, that are full of mistakes. Not the wrong or false notes, but the wrong dynamic, understandable things.
My music education was oral. I was resistant to scores and things like that. In Jewish religious music, there are no scores. You learn everything by rote, by ear, by repeating.
I've written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I'll get someone who is good at writing scores to write it out. Or, if I have the luxury of time, I will go in a room and hear the people perform and then change it through what I hear, not on paper. I can read music OK, but I probably rebelled a little - music changes into something else when you read it.
I think you can hear, when you listen to someone's music, whether or not they're enjoying making it - it's so great to hear music where you can tell the person making it was just having a blast. That's really important to me as far as my process goes. That's probably why my music ends up being so poppy!
Make the kind of music you love even if you never hear it on the air. This was the basic lesson I'd gotten from Alan [Lomax]. Alan said, Pete, look at all this great music around. You never hear it on the radio, but it's right there, great music.
If I can hear the music then no, I don't hit a wrong note. But if I can't hear the music because the audience is screaming or the sound system is bad, then I'm subject to stray.
I think that if you hear music young, whatever music you hear influences you. I'm white, but I've been influenced by black music.
It's not the music you hear in your head that other people are going to hear. You have to be able to make it true enough to the image in your head, and that's where technique and technology come in, for sure, and knowledge. It's not true and will never be true that someone who knows nothing can sit in a basement and make great music.
I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet.
If you look at our domestic scores in T20s, it is generally around 110-120. I think we all need to go back, step up our domestic circuit, take those scores to 140-150. If that is happening then all the batters will come with the same mindset of playing a fearless brand of cricket.
When music is crashing around us, when you hear the same five songs on the radio that aren't really saying much, we can always go back to great music. Great music always lives on.
I wanted to be a film composer because I heard scores that could stand alone, from 'Vertigo' to 'Star Wars' to 'La Dolce Vita,' because this music has so much history. They're weighed with the history of music. They come from somewhere, they have a past.
People come from internally, from other places in the United States, but also displaced people from other parts of the world. They come here. If you walk in the streets of San Francisco, you hear all the languages. You smell all the foods. You listen to the music from everywhere. There's great diversity.
Did you ever notice that life seems to follow certain patterns? Like I noticed that every year around this time, I hear Christmas music.
The way I look at music, what I'm interested in is not necessarily creativity - in many ways I think creativity is overrated, actually. What I think is important is authenticity. I want to hear music that has the resonance of the people. I want to hear music that is an amplification of them. Because then, I can experience the people. But because the music has become so institutionalized, everyone is learning and regurgitating the same material in the same way.
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