A Quote by Cliff Martinez
I actually don't see that strong of a connection between my background as a rock 'n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.
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I think it's important for an actor to see the work they've done because every time you revisit a work you come up with a new way of improving it. It's a good way to brush up your craft and your skills, so I think it's a good thing to do, keep seeing your films.
One of the major aspects of film composing is that it's not so much a musical thing as it is communicating your ideas with the director, who often does not come from a musical background.
I've often thought that my background in rock 'n' roll has gone to waste in film work. My background was that I was a rock 'n' roll drummer and I don't think I used drums in my first ten years of film scoring.
Imagine if your success in life is determined only by your guts, your hard work, and your willpower, and not by the wealth of your parents. I think it'll be a much more interesting world. I think this could change the way the planet is run.
Good rock 'n' roll is something that makes you feel alive. It's something that's human, and I think that most music today isn't. ... To me good rock 'n' roll also encompasses other things, like Hank Williams and Charlie Mingus and a lot of things that aren't strictly defined as rock 'n' roll. Rock 'n' roll is an attitude, it's not a musical form of a strict sort. It's a way of doing things, of approaching things. Writing can be rock 'n' roll, or a movie can be rock 'n' roll. It's a way of living your life.
Rock'n'roll is an attitude, it's not a musical form of a strict sort. It's way of doing things, of approaching things. Writing can be rock'n'roll, or a movie can be rock'n'roll. It's a way of living your life.
Punk rock was the first thing I found in my life that made me feel acceptable. The thing that got me into punk rock was the idea, "You're fine just the way you are." It sounds kind of dorky, but you don't have to make excuses for who you are or what you do. When you find something like punk rock, not only is it okay to feel that way - you should embrace your weirdness. The world is totally messed up, and punk rock was a way to see that and work with it without candy-coating it. It was saying, "Yeah, the world is this way, but you can still do something about it. Take energy from that."
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
Your false self is always that which is passing away. Your true self doesn't go up or down, it's constant - it's a rock. Once you learn how to live there, what others say about you, your failures or successes - these don't send you on a roller coaster ride down or up. It's really the only way to peace. There's no other way to be peaceful except in the true self.
All my films are about kind of being seen to be one thing when you're actually something else, and the power of the female spirit to make things work your way on your terms. Which is what I do.
Society imposes an identity on you because of the way you look. Your struggle as a self has to do with an identity being imposed on you that you know is not your identity.
When you see the industry's fickleness so early on, you realise that you are only as good as your last release. It is all about your work. And that has set the way I look at my profession and what I do in my career.
It's very interesting being an artist and a comedian, (because) you aim for jobs that will feed your ego, but when you get up to the precipice of them, you actually have to deliver. You actually have to understand that you're reaching a new level where there are way more eyes on you, way more expectations and way more pressure.
I think the first film you do with your instincts because you haven't learned with another director or you haven't worked on other films, so you tend to do things your own way. I think what I learned the most was to take your time, to try to be less rushed into things and have some distance with what you're doing.
You do your work, and you do the best you can. That's what my parents taught me, and I think what they were saying was, 'If you do a good job, other things may come your way.' That's really been the way my career has unfolded throughout the years.
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
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