A Quote by Howard Shore

To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
I usually work with the director and it's just a collaboration between me and the one person. I think you make good movies that way. If the director and the composer can have this common goal and this excitement about making something great, then you're going to do something good.
If I do a play, it's my vision, and everybody else is working on the production to support that. If I do an opera, I feel like part of my job is to support that composer, to try and create something that allows the composer to do his or her best work. In movies, it's usually the director.
I find respect for a mediocre British composer, as opposed to a really good American, ridiculous because they automatically respect a composer if he's from England.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
You've got to be an editor in order to be a good composer.
A good composer is slowly discovered and a bad composer is slowly found out.
Historically, there is a fight between the sound designer and the composer. You see them in the mixing room and they're always fighting because the composer wants the music to be heard and the sound designer wants the sound to be heard.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
The architect is not only the director, but he is the composer. And, as a composer, the architect brings a sense of creativity to each building.
I dream of a collaboration that would finally be total, in which the librettist would often think as a composer and the composer as a librettist.
I always wanted to be a composer, and I sort of went in to NYU as pre-med because I just thought, 'Well... who actually becomes a composer?'
Notes are part of life for any composer for hire. There's no way around it. I think anyone who has done even a small number of films as a professional composer gets used to that idea pretty quickly.
Originally, I wanted to be a composer. I always tell people, 'I think of myself as a composer.'
Originally, I wanted to be a composer. I always tell people, 'I think of myself as a composer.
I'm not a script composer. I'm a film composer and my brain is excited by images and moving elements.
I think it's good for the composer to teach because you always have new students and you have to begin at the beginning and make things clear.
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