A Quote by Allan Holdsworth
Whenever I watch a movie I like to imagine what sort of music I might compose for a scene, to create a particular kind of atmosphere, because when I see something I hear something.
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Whenever I hear someone describe something as a 'kids movie' or a 'family movie,' it immediately has a negative connotation in my mind because I think, 'Well, as an adult, I wouldn't go see it by myself, because it's purely for children and it holds nothing for me and it's simplistic and it's kind of easy.'
I'll see something or hear something. Sometimes, it can be a color. Or a piece of music. Or an image of some kind. I see something, and it has huge emotional weight, although I have no idea why.
When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.
What you find with really good directors is that they kind of leave you alone. They've hired you because they know the kind of work you do and the sense of how you'd approach it. So usually, they'll just stand back and maybe give you a nudge once in a while in terms of something specific they might want in a particular scene.
Any material can be treated in any number of ways. Sometimes I might hear something, or someone else might hear something, and say, "Wow, that sounds like classical music." Somebody else might think it sounds like a slow jam.
There's no man alive who has any answers. We all know that. It's like the guru trip. All a guru can do is direct you to something that you probably already know about yourself, something you might want to followup on. Apply the same thing to music and records. You might get something from a particular record that hits a nerve and something inside you. But that's your vision of it.
It's emotion. When you are watching a movie you see a woman sitting with her daughter and looking in her eyes and you see butterflies flying in the background and then you suddenly hear scary movie music and it changes the whole thing. But if something sounds different it changes the movie. Music is the back drop of what you talk about.
I think I got into acting because I kind of had not much else to do! I guess I was kind of looking for something challenging. I heard about the London Theater scene and it was very different from the upbringing that I had and it felt like a challenge. And the whole sort of London Theater schools, I was told that 6,000 apply and there are like 30 accepted to each one. I was like, "Yeah. Let's see if we can do that!"
Sometimes when you grieve, you grieve at a time where you don't really expect it. You might hear a song or you might smell something or see something that might trigger something, and all of a sudden you get hit with this rush of emotion.
Maybe there is a sort of a sweet middle ground there, where you can do something with something with like 20 to 40 million and do something which is much more character driven, but still create a sort of visual spectacle around it. That is what I'd like to do.
I always thought the piano scene was kind of unique to shoot because we were actually able to film with the playback of the actual song. And that was quite amazing because it almost made it easier - music is usually something that is added after filming has finished so to be able to shoot a scene with music was really wonderful.
When I start a film, I can sort of shut my eyes, sit somewhere quiet and imagine the movie finished. I can imagine the camera angles, I can even imagine the type of music. Without knowing the tune, I can imagine the type of music it needs to be.
I like to imagine that all the choices you make during the day that you're doing a particular scene are going to feed into the creation of that scene. It's not a movie-by-movie or a part-by-part basis. It's a day-by-day thing, and sometimes an hour-by-hour thing.
I actually like a film in a gallery, because you don't have to show up at a certain time to see something, you can just walk in whenever. I like that freedom to be able to see something anytime. I personally don't mind watching something knowing that it's not the beginning and then just letting it run its cycle.
You figure out how to create opportunities to make music, and then, if you take care of the music, audiences will come around. They also might leave. What matters is the moment: the moment of making music, with and for and among others, and what that offers to those people in that moment. They might never see me again; they might never learn my name. But it might still be something they carry with them.
Music in a movie might tell you about longing. It might tell you about fear. It might tell you any number of things, but it tells you something different. Something happy might be going on, but there can be this little sad tinge underneath that tells you something.
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