A Quote by Geoff Zanelli

I prefer live musicians whenever possible. And I tailor the ensemble to what is appropriate for the film and the score I'm writing. — © Geoff Zanelli
I prefer live musicians whenever possible. And I tailor the ensemble to what is appropriate for the film and the score I'm writing.
I never started out to be an action actor. I was an ensemble actor. "Rocky" was an ensemble film. "F.I.S.T." was an ensemble. "Paradise Alley" was an ensemble.
When working with classical musicians, it is important to be clear as possible in the score about what my intentions are. Because there isn't a lot of rehearsal time, especially at the ballet, it's best if everything is written in the score.
So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
Part of what I enjoy about writing classical music is communicating through the score and collaborating with such amazing musicians.
I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.
Whenever I finish a film, I feel that this is the worst film that I have made. This is bound to happen because while writing, directing and editing a film, I would have lived it 5000 times. Naturally, one tends to loose objectivity.
When I grew up, I tried to score off every ball, be it a 10-over-match, a 20-over, or even a Test match. If I stay in the wicket for, say, about 30 minutes, I want to make the most of it and score maximum runs possible. You never know when you get out; try to score as much possible before that.
I want to score more than 30 goals, but I would prefer to score 15 or 20 and get the Premier League or one big trophy.
Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.
Tailor Made will help Ferrari's clients tailor their cars in a very personal, specific way. It's a bespoke service, like visiting Huntsman or Anderson & Sheppard or whoever your favourite Savile Row tailor is.
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.
I have to be prepared always and be at my best. I looked to bat 50 overs and score as many possible. It may not happen all the time, but whenever I see the opportunity, I try to make the most of it.
... we weren't very professional; she could have gone to almost any town and put together a smoother ensemble, but we were pioneers, and professional musicians probably wouldn't have come up with what we did ... professional musicians probably wouldn't have given Janis Joplin the space to be herself, which was probably our greatest gift to her
I only made one film with a score, and I hate it. I hate the score of that film. It's not coming from me. I had nothing to do with it.
When I'm writing a score, I'm constantly looking for ways to improve on it, even when I think it's working well. I don't give up on things, and am always trying to make incremental improvements, which means I never finish writing a score early!
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