A Quote by James Newton Howard
Every movie you score you hope is unlike anything you have done before. You are always trying to not sound like yourself.
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I did an ABC Family movie called 'Cyberbully' a couple years ago, and it was unlike any movie I'd ever done before. I remember just reading the script and thinking, 'OK, she cries in every scene.'
You're trying to put yourself in that moment and trying to prepare yourself, to have a 'memory' before the game. I don't know if you'd call it visualising or dreaming, but I've always done it, my whole life.
You're trying to put yourself in that moment and trying to prepare yourself, to have a 'memory before the game. I don't know if you'd call it visualising or dreaming, but I've always done it, my whole life.
Every film is a challenge. I always say that making a movie is like film school - you're always learning. But unlike most schools, you never get done with it. You never learn everything.
I put in all the dirty words. It works really well. The thing that we found with 'Drive Angry,' more than anything else is that we wrote the movie that we wanted to see. I've done that before. I've wanted to see 'Jason X'. It did not become the movie that I thought it would be. That happens. It's happened with every movie I've ever done.
'Bloodshot,' for me, was unlike anything I'd ever done before, which was really the draw of it. In addition to trying to reconnect with my earlier work, I also wanted to try to do something that was completely new and different.
Any kind of creativity is not settling down into a happy little space. I don't try to be mellow or anything. I think I have quite... my voice is what it is, no matter what I'm singing, it's always going to sound like me. There's not too far I could go. I sound like myself. I hope that I haven't put any boundaries on anything.
Certain things are done intentionally opposite - like there's no sound at the end or synthesizers or all that stuff. Anything that drowns the movie, no. Anything that makes you sit up and watch it, yes. So, some are expecting a very sad theme going on.
Every time you wanted to do something, you'd hope it would score. You'd keep trying and trying, and all of the sudden, something would come right out of left field, like 'The Wreck of the Edmund Fitzgerald.' No one had any idea about that one.
That's our mirror. Every dip, every crash, every bubble that's burst, a testament to our brilliant stupidity. This one gave us the railroads. This one the Internet. This one the slave trade. And if we hope to do anything about saving the environment, or getting to other worlds, we'll need a bubble for that too. Everything I've ever done in my life worth anything has been done in a bubble: in a state of extreme hope and trust and stupidity.
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.
I've done a lot of movies before 'Entourage,' and I hope to always have my movie career going. Maybe I could take on another TV show, too.
Ghost Team approached me. They said, "Hey, it's mid-October, do you want to go shoot a movie on Long Island for three weeks about stupid people chasing ghosts?" I had never done anything like that before. It's kind of a mock-horror movie. What I didn't realize was the whole thing takes place at night, as a horror movie should, and so I didn't realize that we'd be working until 6 in the morning every night, or morning.
I've always been against trying to make a movie like another movie. That's lame. It's already been done, so why do it again?
I've always sensed what a script should sound like - even before the movie's been made
In this business, it's important: if you consider yourself a journeyman actor like I do, you need to stay topical. So I'm always looking for projects that are challenging, that put me in a light that's different from anything I've ever done before.
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