A Quote by Howard Shore
You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.
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Be famous. Be a big social experiment in getting what you don't want. Find value in what we've been taught is worthless. Find good in what the world says is evil. I'm giving you my life because I want the whole world to know you. I wish the whole world would embrace what it hates. Find what you're afraid of most and go live there.
I sometimes like to think of God as a great symphony and the various spiritual paths as instruments in an orchestra. The gift that you have is like music waiting to be played. You need only to find the instrument that will best bring it out. You alone can never play all the instruments, and your music might not find voice in all the instruments. All you can do is find the instrument that suits you best, play it as well as you can, and add your music to the great symphony of divine creation.
...thinking that the world was like an orange, that I could split it open with my thumbnail and find a whole different world, the grown-up world, the secrets beneath the skin.
We are all musicians in a great human orchestra, and it is now time to play the Save the World Symphony. You are not required to play a solo, but you are required to know what instrument you hold and play it as well as you can. You are required to find your place in the score. What we love we must protect. That’s what love means. From the right to know and the duty to inquire flows the obligation to act.
You may study with the highest teachers, but you will find no one but yourself teaching you. You may travel the world over, yet find nothing but yourself, reflected the world over. So if you now find yourself in a cell, take heart that of all the teachers in the world, out of all the places in the world, you still have with you the only ultimate ingredient of your journey: yourself.
I always maintain that playing in an orchestra intelligently is the best school for democracy. If you play a solo, the conductor and everybody in the orchestra follows you. Then, a few bars later, the main voice goes to another instrument, another group, and then you have to go back into the collective [sound]. The art of playing in an orchestra is being able to express yourself to the maximum but always in relation to something else that is going on.
It's like a whole orchestra, the piano for me. And also it's to me the greatest instrument. I shouldn't say that, but I believe that this is the only instrument I can really feel happy about playing.
Composing is to think. It is to have your mind trying to find what is the best sound that the movie is going for: the best melody, the best texture, the best structure and dramaturgic arc for the film. Then you discuss that with the director. He's the leader. He's the one showing you the path to follow to find the soul of the film.
Deep inside I feel that this world we live in is really a big, huge, monumental symphonic orchestra. I believe that in its primordial form, all of creation is sound and that it's not just random sound, that it's music.
How do they find out with the experiments?''...one way they can find out a whole lot is to make an animal ill and then try different ways to make it better until they find one that works.''But isn't that unkind to the animal?''Well, I suppose it is...but I mean, there isn't a dad anywhere who would hesitate, is there, if he knew it was going to make [his child] better? It's changed the whole world during the last hundred years, and that's no exaggeration.
You are an instrument if you understand your voice and how to use it - this sound, that sound and certain ranges and different pitch. Within that I try to find a rhythm and play the voice as if it was a horn.
I find that I can have no enjoyment in the world but the continual drinking of knowledge. I find there is no worthy pursuit but the idea of doing some good for the world.
My feeling is, the world is a lonely place. If you can find people who are like you, and find some camaraderie, that's special. I wish there was more of that in the world, in general.
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.
That's the process of making the film and it isn't until the world puts their eyes to it that you find out if it's creating any kind of connection at all. But every single film at some stage of the film I think, "I wonder what this is going to be?"
Writing in the electronic world, you imagine a sound, and then you have to go and find it. It's not like imagining a flute and then making that sound materialize. That's easy!
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