A Quote by Max Richter

You can get away with a lot more in a film or television score. It is contextual. — © Max Richter
You can get away with a lot more in a film or television score. It is contextual.
I think film and television actually is a lot harder. Acting onstage is physically more arduous, but to get to emotional truth within a scene, it's much tougher to do it on film.
Television in the 1960s & 70s had just as much dross and the programmes were a lot more tediously patronising than they are now. Memory truncates occasional gems into a glittering skein of brilliance. More television, more channels means more good television and, of course, more bad. The same equation applies to publishing, film and, I expect, sumo wrestling.
Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.
Film and television are just different. Film is cool because it's a complete package. You know the beginning, middle, and end. You can plan it out more, which I like. But with television you get a new script every week, so it's constantly a mystery as to what you're going to be doing.
Film and television are just different. Film is cool because its a complete package. You know the beginning, middle, and end. You can plan it out more, which I like. But with television you get a new script every week, so its constantly a mystery as to what youre going to be doing.
I absolutely love television, and I don't mean to be vulgar, but as I keep having to explain to people from the movie industry, I get more power and more money doing television, so why on earth would I do a film?
The more unique your film is and unusual it is and difficult it is, the harder it is to get it financed. That's why a lot of good filmmakers are doing television. They do HBO movies.
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.
When you're a kid, I think you want to be a film star. And I'm not as enamoured with that any more. The reality of that life is a lot of travel, and a lot of being away, which is impractical because I have four children, so I don't want to be away that much, not the other side of the world away.
I didn't dream of being in television or film. But then I got married pretty young and had children, and I wanted to feed the children, so I worked a lot of film and television.
I've done a lot of film, so I'd like to get back into television.
Obviously, television is a writer's medium, so you get a lot more power and authority. With a film, the discipline is having a beginning, middle and end, and having it work in a specific space of time.
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 think somewhere in the '90s, it started to shift, and you started to see a lot of film and television actors doing theater, and producers using the notoriety of the film and television actors to sell tickets.
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 makes sense that it's so different from film and television, because it's so in-depth. As actors, when we're in film or television, we can have transcendent moments and we get to work with really creative and incredible people, but it's such a small percentage of your time that's about your process.
This site uses cookies to ensure you get the best experience. More info...
Got it!