A Quote by Howard Shore
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.
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What I'm always afraid of is going "off-book,I always get upset when the director leaves the classic comic that was so very popular. I argued, and I won't say with who about what, but when we go way away from the original source material... that material is popular for a reason and I like to stick with it.
Earth is the material with the most potential because it is the original source material.
It [moviemaking] is not really done on a yearly basis. It's about how the material, and when the material comes in. If you develop your material and the script comes in great and you can attach a director and a cast and go off and make it, then I could make, I don't know, six [movies] a year. Or I could make one. It really depends.
'Analyze This' is a good movie because Robert De Niro and Billy Crystal are really good. But without the material to put on the play, of course, they couldn't be good. For me, it starts with the writing. I always think that the writer is doing the vast majority of the director's work, in a sense.
When someone is buying a sample-based album, they are investing in the concept of that album. If they really like the original source material, they can go buy it.
It's very hard for a studio to take a chance on a piece of original material. They used to have the fall-back of DVD sales. They had ways in which they could safely make an investment in a piece of original material, and those opportunities aren't necessarily there anymore.
I will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
The goal of the work is always for it to come across as original material, as transformative material.
Obviously, if a director doesn't communicative a clear, relevant vision of the material, it will not succeed no matter how good the material.
I also have a role model back in New Zealand, a woman called Miranda Harcourt. She's an actress and a writer. Her willingness to stay open to material is really great. I read a lot, and I try to watch and listen to diverse material.
I really don't want to go to work every day convincing myself of what I'm saying. I want the material to make me a better actor; then I try to return the favor to the material.
You never want to have a movie be derivative, because that's the worst if you ask me. I always want to be in original material, or an original idea, or an original vision, rather than a rehash of some other movie.
Most of what we take as being important is not material, whether it's music or feelings or love. They're things we can't really see or touch. They're not material, but they're vitally important to us.
'2001: A Space Odyssey' is a movie that really impressed me as a teenager. And also 'Blade Runner.' And 'Close Encounters of the Third Kind' is also one of my favorites. I'm always looking for sci-fi material, and it's difficult to find original and strong material that's not just about weaponry.
When you got source material, whether it's a play or a book - a great writer often appreciates being adapted and developed. It's like when you go see a production of a great play and they are always different. There is always room for interpretation.
It's terrible for people when they really love a book and there's an adaptation and they don't like it, because it's almost like you have this personal connection to the original material.
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