A Quote by Henry Mancini
If a film is not doing well, a record company will not take a chance with the score.
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I am convinced that when the team plays well, the attackers will have chances to score - and that's why I will have the chance to score.
Good developers like seeing their products sell in large quantities. They enjoy the competition of doing a better job than the other company, especially if the other company has more people on the project and they're entrenched and people are saying that we don't have a chance of getting in there and... and doing well.
I'm not going on the pitch just to score goals, I am going on there first to win and to play well and then, if I have the chance to score as well, that's even better.
Once a company develops out of its consumer base, you will often see a well-funded multinational company come in and take over that space. The black-owned company either stays a niche company or just disappears. This is something we don't want to happen.
I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
Doing background score for a film is not an easy task. It requires constant and deep learning and it is the only way to create a score with finesse.
When you are doing music videos through the '90s, which I did, and the 2000s, you were put in the position, really, as an independent filmmaker. You were being financed by a major record company or a minor record company or whatever.
You are only part of the film industry if you are doing well, let me tell you. You will be invited to parties and flowers will reach you on your birthday. When you are not doing well, you are really an outcast.
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.
When I do a film score, I am basically nothing more than a fancy pencil for hire. I don't own any of the music when I am - it belongs to the film company - and likewise, when I am done, even if I come up with something astounding that I may want to revisit... in the world of film composition, you can't do that.
The record company stay out of my way. Whenever the record is finished, they take it.
People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.
You might as well take a chance on doing what you love.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
You just have to be prepared because in the Premier League, you are not always going to have more than once chance to score. When it comes your way, you have to be ready to take that chance. If you're not calm, you know it might not come again.
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.
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