A Quote by Jack Garratt

I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet. — © Jack Garratt
I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet.
My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.
I grew up on film scores and scores from films.
Robert Townson at Varese is a huge fan of film music and has really done a lot to educate audiences about film music and scores.
For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.
I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.
In the film work, I love to work mainly from the script and from talking to the directors, so a lot of the music, big portions of the scores that I've made, have been composed before the movies were even shot.
I love film scores and opera, and I wanted to work in those forms. But theater was more accessible. And no one was doing this in the late 1970s, when I began working in the theater. So, I have written scores for thirteen plays, which are not musicals, but straight plays.
My music education was oral. I was resistant to scores and things like that. In Jewish religious music, there are no scores. You learn everything by rote, by ear, by repeating.
John Barry was my hero when I was about 13. His scores to the James Bond movies were the scores of my life back then.
I wanted to be a film composer because I heard scores that could stand alone, from 'Vertigo' to 'Star Wars' to 'La Dolce Vita,' because this music has so much history. They're weighed with the history of music. They come from somewhere, they have a past.
'Neerja' is such a solid film. Everything about the film has substance, be it sound, writing, story, background scores, or direction.
I can write songs, I've had songs in movies, but I can't compose film scores, you know?
Album sales have collapsed, with few artists making money from albums; touring is more lucrative. But I'm 53 now and won't be able to tour forever, so a logical step is to get into writing film scores. Trouble is, you need to be somewhere which has a big film industry - another reason why I'm thinking about living in California.
I need weird breakages to happen for music to feel true to life, and I think that also applies to good film scores.
I worked on scores. I went to the musical library in Berlin which is very famous. I discovered that we had scores of Beethoven, printed scores of Beethoven, that are full of mistakes. Not the wrong or false notes, but the wrong dynamic, understandable things.
After working as a producer on many pop, electronica and some soundtrack, incidental music projects, I became more focused on film and TV scores.
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