A Quote by James Marsh

The score, which comes often quite later in a film, can help reinvigorate your emotional engagement with it. — © James Marsh
The score, which comes often quite later in a film, can help reinvigorate your emotional engagement with it.
Often you find actors have big hearts; they're quite emotional people. Talking to actors who date other actors, and talking to people who deal with other actors, they often get emotionally caught up in lots of different things. They often wear their hearts on their sleeves. They feel things quite a lot - often to the nth degree, which I can imagine could make it quite difficult to date some of us. I think it's about having an emotional availability that you can kind of draw on. But I'm also searching for that. I'll be searching for the answer to that question for the rest of my life.
The score is always the wonderful icing. The score tells you the emotional content of the film. What the characters don't say, the music can say.
To me, score is really important. I would rather not have any score if it's something that's going to detract from the film. So often when I watch films, the score is what really bothers me.
An (emotional) vampire goes in for the kill by stirring up your emotions. Pushing your buttons throws you off center, which renders you easier to drain. Of all the emotional types, empaths are often the most devestated.
Sometimes I can help the team to score, to make the last pass or to get more chances and try to score. Maybe I can do this more often.
I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.
Quite often I play roles that require quite a degree of emotional exposure, and they can be very difficult to do.
I'm quite an emotional person. I cry a lot. I do not like conflict, so if I have an argument with my parents, I'll often cry. I become too emotional.
I went to Poland for the Warsaw Film Festival, and it was quite an intense experience. I didn't think it would be, but it did feel quite emotional to go back to this place I'd heard so much about.
Later scientific theories are better than earlier ones for solving puzzles in the often quite different environments to which they are applied. That is not a relativist's position, and it displays the sense in which I am a convinced believer in scientific progress.
Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.
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.
I could never be a part of an adaptation of a film where there's pressure to not disappoint the immense fan base. In those cases, they often wind up with filmed books on tape, quite uncinematic. Having said that, I'd say all the adaptations I've done are quite faithful to the original... You have to pick and choose which storylines and plot threads, because you don't have the time to kill in the film as they have in novels. All those pages with detours and plots and different storylines. But films add a lot, and you gotta keep it moving.
I only made one film with a score, and I hate it. I hate the score of that film. It's not coming from me. I had nothing to do with it.
I've been banking my holidays, which means I take time off later in the year. It makes it a lot easier to fit filming in; it can be quite challenging to study and film at the same time.
I think often in film we limit our imaginations a little - well, quite a lot, actually... things get quite formulaic.
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