A Quote by Marco Beltrami

I had come from an orchestral background, but I didn't really have any orchestral pieces for film. — © Marco Beltrami
I had come from an orchestral background, but I didn't really have any orchestral pieces for film.
I think 'Easy Rider' might have been the first time that someone made a film using found music instead of an orchestral score. No one had really used found music in a movie before, except to play on radios or when someone was singing in a scene.
When I'm alone at home, I really prefer to listen to Wagner's orchestral music rather than any vocal music. I find it illuminating not to have to pay attention to voices in the recordings.
I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference.
I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.
What I love about film music is the variety. On one movie, you might be asked to do a completely electronic score, and then another might ask you to do orchestral only.
Jon Anderson and I, we really liked a lot of classical music, and we wanted to get some orchestral arrangements going on 'Time And A Word.'
I feel at home in an orchestral score.
Usually when I am approached to do a score for a horror movie, it's to attempt a repeat performance of what I did way back on 'Hellraiser' or 'Jennifer 8' - one of those really orchestral scores.
I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.
The orchestral or symphonic music never interested me.
It was both exciting and frustrating to work with an orchestral group.
I have always studied my parts with the orchestral score and not with the piano reduction.
After moving to Los Angeles in the early '90s, I started looking into "music for picture" more seriously and in broader scope. My collaboration as a programmer and arranger with Graeme Revell exposed me for the first time to the full spectrum of film music, including the hectic demands of orchestral scoring and the power politics surrounding the finalization of any score for a major motion picture in Hollywood.
I love huge dramatic songs with ridiculously big orchestral parts.
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing
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