A Quote by James Newton Howard
I would say, generally speaking, though it is not always the case, comedy is probably the least gratifying for most composers because it is more specific about what the music needs to do.
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The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.
Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual.
In the movies I've done for Sony, they've never given me quadrant specific notes ever. They say "Keep making it. Just make the movie you want to do." Especially in a comedy because comedy is so tone specific.
When confronting most crises, whether historic or contemporary, aid agencies generally muddle along on a case-by-case basis. They weigh insufficient information, extrapolate somewhat blindly about long-term pros and cons, and reluctantly arrive at decisions meant to do the most good and the least harm.
Comedy is hard to do, and I don't know why it doesn't have its own category in awards. I don't understand why people think it's harder to do drama than it is to do comedy. It doesn't get respect. It's hard. It's really hard. It would be more gratifying to get something for a comedy, because it doesn't happen much or at all.
Communists love to make films about composers, because composers compose music and don't talk subversive things.
Communists love to make films about composers because composers compose music and don't talk subversive things.
Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual. But in "Iron Man" it was kind of like both worlds colliding because there was a lot of improvisation, not that we improv-ed in the scenes but to discover the actual scenes themselves.
What I consistently say to young people - I say it in the United States, but I'll say it here in Germany and across Europe: Do not take for granted our systems of government and our way of life. I think there is a tendency, because we have lived in an era that has been largely stable and peaceful, at least in advanced countries, where living standards have generally gone up, there is a tendency I think to assume that that's always the case.
There are always at least five good films at the end of the year to get nominated, but generally speaking nowadays, it's more of the independent films that are recognized.
You must never believe everything they say about a person. Generally speaking, most of it will be lies, half-truths at best.
Trap music to me isn't just a sound. If we're talking about what I think trap music is, I couldn't say that I created it or no one created it, because if you were living the same life that I was living and you're speaking about it, we just speaking about our endeavors in that world.
It's always so rewarding, gratifying to me, as an artist and a writer, to see how this music gets more important for a lot of people as time goes by. And it's not just nostalgia. It's a feeling of it's really relevant to their lives, even though it's 20 or 25 years old or more.
I love action movies, and I love comedy, and I love writing comedy, but the genre of action-comedy - or, at least, as it currently usually is - is just not something that I feel that compelled by, generally, because I find the action to be silly, or it's too slapstick, or the stakes feel low because people are joking in the middle of it.
I think, you know, for someone who does play, let's say, old music or, you know, Baroque music or Renaissance music - and you know, and I do play a lot of that, obviously - engaging with new composers, engaging with young composers, is really exciting because it makes me look at people of the past in a very different way that they are also living, that there was a lot of subjectivity in the decisions that they were making.
Composers are influenced by all the important music in their lives - and I suppose that since radio started playing popular music, that's as likely to be The Beatles or Aphex Twin as it is to be Verdi or Ravel. They'd be strange teenagers if they didn't. But cross-pollinating happens too - Aphex Twin did more interesting things with electronic music than most trained composers, who seemed to approach samplers with undue caution and reverence in those early days.
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