A Quote by Christopher Lennertz
It is really amazing to be able to do cinematic, big feature style film music on a weekly basis and do it in LA, on a big scoring stage, on a studio lot, and do it with the right players and make it sound great.
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The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
I love music. I think music is a big inspiration; I listen to it a lot when I'm writing. I really love cinematic music. A lot of the time, I make playlists for my characters when I act. I also make playlists for the scripts that I write.
I'm willing to give up a little control but not a lot. So I say I want the money, but when push comes to shove, I'm not sure I'll be able to compromise in order to make the big studio movie. Maybe something in between would be okay, like a low-budget studio film.
He's a big player, and the big players score the big goals and make the big contributions in the big games. That's what determines a great player. That's what Steven Gerrard is.
I guess, you make a big studio film, you spend a lot of money on it and you hope people go see it. It's really risky.
With the right movie, 3D can enhance the experience. Absolutely, it can make a good film a great film. It can make a great film a really amazing film to see .
A lot of the commercials that I was doing were very slice-of-life, emotional, documentary-style, not big and cinematic and ultimately like the kind of movie I wanted to make.
I do think I had a big advantage for the first four years I was in broadcasting, that no one really saw me. One of the big disadvantages superstar players have is they go right to the 'A' game, or the studio. I got the obscurity, making mistakes, learning from them and surviving them.
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.
I think quite often when you have a hell of a lot more money and time, as you very much do on a big studio film, you don't necessarily have to make the decisions right there. You can always goback and reshoot it.
The better players need to be out there in front of a big crowd, the TV cameras, with the adrenaline going. That is a test for any player to be able to do it on the big stage.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
I know the questions will be around the money, the amount Chelsea had to spend to bring him here but that's the reality of modern football. Big teams only want big players, big players are in big clubs, big clubs want to keep their big players.
Rather than being a prop in a film with big actors, I would love to do a meatier and more meaningful role in a film that does not feature a big actor.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.
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