A Quote by Giorgio Moroder
One of the most interesting things, at least for me, are the soundtracks for 'The Social Network' and 'Drive.' Basically, it's what I did in 'American Gigolo.' I could have done the music for those movies blindfolded. And one of them won an Oscar, and the other is this massive soundtrack.
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In film, I was surprised when I first saw the movie 'Drive.' I said, 'Oh, God. It sounds great - I love it. Wow, this could be the soundtrack from 'American Gigolo' or 'Cat People.' But I'm surprised that the director would agree with a composer to write that kind of sound.
My favorite films, I would put my answering machine up to the television set and hit record. I'd tape my favorite movies and then I could go back and listen to them again. I only had the soundtrack, I didn't have the visuals. But I think it made me really pay attention to the soundtracks.
Most filmmakers' entire body of knowledge is of other movies. When they describe things, they describe them in relation to other movies. That's why we have so many cyclical movies that look like other movies. But I'm not cynical. I even go to some of those movies.
Is so interesting, is that when you're blindfolded and you're talking to somebody the conversation goes to places that it would never go if you could see the other person's reaction. You start talking about very intimate things. It's such an interesting experience.
My eldest brother Atticus just won an Oscar some years ago, as he wrote the music for 'The Social Network.'
My eldest brother Atticus just won an Oscar some years ago, as he wrote the music for The Social Network.
I love soundtracks to movies and am always touched by the music if it's good. The music in some old Disney movies, like 'Pinocchio,' 'Alice in Wonderland' and 'Peter Pan' really gets to me.
I don't think 'Sugar Man' is a music doc any more than 'The Social Network' is about computers. It just happens to have the best soundtrack ever.
The goalkeeper plays in a psychological position, and he's dealing with mental things. I wanted to describe the things I've done wrong and, most of all, what I've done right, so that other people, including those in other professions, could learn from my experiences.
I dont think Sugar Man is a music doc any more than The Social Network is about computers. It just happens to have the best soundtrack ever.
With most movies I've done before, I've done a lot of preparation. I've known about them long before [shooting], and I've prepped and changed my body and done research, and all the things you could imagine.
Faces are the most interesting things we see; other people fascinate me, and the most interesting aspect of other people - the point where we go inside them - is the face. It tells all.
As a little kid in a sometimes hard place, I went to the movies as often as I could. Movies - making them, seeing them - is not something that could ever lose its pleasure for me. That puts them on a short list of things that eternally give me joy - love, family, food, movies.
There are some things that I write that I know are personal in a way, or the gag is so obscure that it's just for me, and there's other things that could basically be for anybody or be anything, at least until the lyrics start to get written.
I think if you write music for soundtracks then sometimes you do something that you could never do if the film did not exist.
There's always peripheral things that you like that you don't know, but starting with whatever his British influences are, are some of my favourite artists, and the American things are what I grew up on as well. In the end, for me, it's those foundations of the music business - those things that are a lot of the foundations of what music today is. You can hear a bit of all of those things that we talk about in almost all music today.
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