A Quote by Henry Mancini
As a screen composer or film-music writer, I need something that I can work with in the body of the score. Like 'Charade,' 'Moon River,' 'Wine and Roses,' 'Dear Heart' - they were all just themes that grew out of the picture.
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The colors of 'The Nutcracker' ballet score have become a part of the vocabulary of film music. It's where so much of the 19th-century romantic music that I call upon as a film composer is rooted.
I love Philip Glass' work, not only as a film composer but also as a musician. The film score work that he does always amazes and shocks me.
A film just doesn't involve actors, a director and a producer, there is also the cameraman, the sound engineer, the music composer, the lyric writer. So many people come together to make a film. When we all feel satisfied with the film that we have created it's a win for all of us.
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.
I really like to absorb the project and watch it and work on the music a lot and just get the feel for it until eventually a moment comes where I know I've got it. A lot of it is trial and error. Some days a piece of music doesn't work then other day another piece of music finally says something and works with the picture and suddenly casts a light on all the other stuff you've done - probably because my mind is getting to understand it and the piece is educating me. I always feel like the score is in there already somewhere and I just have to channel it and accent it.
It is when music is added that a film can come to life for a director. A live orchestra, playing the score as a conductor watches the film on a huge screen, often gives a fimmaker the first real glimpse of his soon-to-be-completed work. That's where the magic is.
To work for months and months and months, you kind of spill blood and give your heart and soul to something, and then you just sort of let it out into the universe and hope that people like it. How you see it in your head is never how you see it on the screen, so it's almost like an out of body experience.
Fill the bowl with rosy wine, around our temples roses twine, And let us cheerfully awhile, like wine and roses, smile.
When I was younger, humans went to the moon when I was about 4 years old, and I imagined that as I got older and became an adult that traveling in space was going to be fairly common and something that we all did. So I grew up believing that I'll be an astronaut just like these guys were that were going to the moon.
I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.
I hide my distress, just likethe blessed birds hide themselveswhen they are preparing to die. Wine! Wine, roses, music and yourindifference to my sadness, my loved-one!
Switch off the mind and let the heart decide who you were meant to be Flick to remote and let the body glide There is no enemy! Etch out a future of your own design Well tailored to your needs Then fan the flame and keep the dream alive ... ...the future is roses! Roses!
When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.
I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.
I don't claim to be a composer, and I realize my approach is pretty dopey in comparison to the true masters of score work. That said, if someone thinks what I do specifically would work for their film, then, of course, let's see what we can do.
I tried to score a few films with this composer Brian Reitzell here in L.A. We made a bunch of music we really loved, but we got fired from the film for being too weird.
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