A Quote by Fred Frith
I think that one of the things that influences me most as a composer is to what extent I can deconstruct and reconstruct the material that I'm working with.
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In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.
If you deconstruct Greece, you will in the end see an olive tree, a grapevine, and a boat remain. That is, with as much, you reconstruct her.
When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play.
I like to deconstruct things, deconstruct genres and stories.
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.
The enjoyment of work - to the extent that you have any - is likely highest in the first hours of the day when you are fresh, not tired, working on the most important things.
I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
Every once and a while somebody writes a script, but even regardless of what age you are, most of the actors would all agree that it's all based upon material and the material has got to spark with you. It may be great material but you think it's great material for somebody else. Or it's great material and I'm perfect for it. So, you just have to make that judgment and if you feel in the mood to do it.
My writing is of a very different kind from anything I've heard about. All this mythological material is out there, a big gathering of stuff, and I have been reading it for some forty- or fifty-odd years. There are various ways of handling that. The most common is to put the material together and publish a scholarly book about it. But when I'm writing, I try to get a sense of an experiential relationship to the material. In fact, I can't write unless that happens ... I don't write unless the stuff is really working on me, and my selection of material depends on what works.
Argo' was a very exciting project for me because I knew that I could mix together influences from my youth as a young musician and a young composer.
I think an editing style is something that is ascribed to the work after-the-fact. I don't think you go in with a particular intention, but I think if there is an integrity to the work and the material you are working with, the work comes from the nature of that material.
Science can reconstruct Tyrannosaurus Rex from a fossilized bone and a fancied footprint, but it can't reconstruct God from the whole of creation.
It's really been enlightening for me to work with composers because I used to think that everything in the music was exactly what the composer meant. Well, it's what the composer meant in that moment when they wrote it.
We can construct, deconstruct and reconstruct our sexuality any way we want: it is our privilege as thinking creatures. However, human sexuality has a specific nature, regardless of what we believe or say about it. We are more likely to be satisfied with the outcome, if we work with our biology rather than against it. We will be happier if we face reality on its own terms.
Something most people don't know about me is that I'm obsessed with technology. With that in mind, the 'material' I'd most like to experiment is the material that has yet to be invented.
An actor that tells you that they have real choices between material is, for the most part, lying. There are very few people that have opportunities. But what you do have where I am in my career, is saying no to the things that seem repetitious. For me, I always look for material that allows me to bring my worldview to it. And those opportunities, since the beginning of The Shield, have grown exponentially.
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