A Quote by Daniel Handler

I listen to Morricone, the famed Italian film composer, while I'm working. — © Daniel Handler
I listen to Morricone, the famed Italian film composer, while I'm working.
I think a lot of good directors listen to music while they're working. The songs just don't become a part of the film. They're replaced.
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
I'm not a script composer. I'm a film composer and my brain is excited by images and moving elements.
I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
My education as a film composer, you can't not - if you like the orchestra like I do, if you are a symphonist like I am - you can't not listen to John Williams' work.
One important thing, just being a film composer in general, is to have a great respect for the art that you're working on - a great respect for the film and a great respect for the filmmakers.
In 1993, my first documentary was about the civil war in Algeria. That was in French and in Arabic. Another short film I did was silent. What I'm trying to say is that, yes, I'm Italian, and yes, I make films with Italian money, but personally, I've always been invested in the broader world of film-making.
I really liked doing a number of the projects and directors, and etc., etc., I knew about half-way through that I would never be doing that again. It's just not me. I really am happy as a part-time film composer, not a full-time film composer.
We were raised in an Italian-American household, although we didn't speak Italian in the house. We were very proud of being Italian, and had Italian music, ate Italian food.
The sort of man who admires Italian art while despising Italian religion is a tourist and a cad.
Every composer's music reflects in its subject-matter and in its style the source of the money the composer is living on while writing the music.
The art of making films is a collaborative art. As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.
Before I start, I create a set list that I listen to while I'm writing. For 'Intimate Apparel,' I loaded Erik Satie, Scott Joplin, klezmer music, and the American jazz performer and composer Reginald Robinson.
I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.
Music critics have made it quite clear that any composer who ever contributed a four-bar jingle to a film was to be referred to as a 'Hollywood composer' from then on, even if the rest of his output were to consist solely of liturgical organ sonatas.
This site uses cookies to ensure you get the best experience. More info...
Got it!