A Quote by Amy Lee
My biggest dream from the beginning - besides Evanescence - is scoring film and writing music for film.
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I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.
Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.
That's such a big part of film scoring that people don't realize. There's a portion of film scoring that's writing the music, but a lot of it is how do you get along with the guy you're working with, how do you interpret what he wants? It's so subjective, you know? Your version of sad is probably different than my version of sad. It's my job to figure out what your vision of sad looks like.
My dream project is a sports film, because I love writing emotional music and a sports film is one of the few places you can do it without being melodramatic.
I've actually done more [music for] films than television. I love the process of writing for a film. I love that you are creating this suite of music for a film, that's all tied together sonically and thematically and hopefully people associate with the film. They all are meaningful to me in different ways.
Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.
When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.
I would like to do more film scoring, period. Whether it is a big film, a small film, or just anything. I feel like I have a lot to learn, and what better way to do it than on the job?
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.
Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.
Writing for a film means the music has to serve the film, the narrative.
The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.
I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.
One of the earliest memories I have of feeling the power of film music was watching Willy Wonka & the Chocolate Factory. That was a really clear epiphany for me, when I realized that each film has its own music, and that there was someone out there who wrote this very specific music for just this one film.
Music is definitely cheaper and more immediate. But part of the draw of film to me is the multidisciplinary aspect. I always enjoyed film writing.
My job on a film is to be responsible for all the sounds in the movie besides the music. Together with my team, we work on the dialogue, foley, sound effects, and sound design. We work closely with the director and picture editor in the prep period, and then together with them, the sound mixers, and music crew, we collaborate on the final mix of the film.
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