A Quote by Jon Hopkins

For me, the score is one of the main characters of a film. — © Jon Hopkins
For me, the score is one of the main characters of a film.
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.
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 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.
It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.
In a normal film there would be 25 to 30 main speaking characters.
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.
In a film score, the last thing you want to do is take people out of the movie. The music is secondary. In opera, the music is the main event.
The editor, Stephen Segal, actually called me with the idea of creating an accordion book [ "The Thorn & The Blossom"], and asked if I could write a story for it. I was so intrigued! I immediately knew that it had to be a love story told from the points of view of the two main characters. Right away, I started working on a proposal. And once I had my main characters, Brendan and Evelyn, it was as though they started telling me their stories.
To be honest, I don't think of any of my characters as minor characters - they're all the main characters in a story that I don't necessarily get to tell.
I believe that every character I create is in their own film, that happens to overlap with the main film. There are complete and real characters, even though we only spend only a little time with them. In the approach to what those entities are, that always appeals to an actor. What are they, since they are going to embody this character?
"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.
Doing background score for a film is not an easy task. It requires constant and deep learning and it is the only way to create a score with finesse.
I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.
I love Philip Glass' work, not only as a film composer but also as a musician. The film score work that he does always amazes and shocks me.
For me, the music is always speaking from the point of view of the characters. Rarely do you score an event.
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