To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach.
Frank [Zappa] said he probably would have been a major criminal, given his brain power and his attention to detail, had he not been a composer. But being a composer is not something you can't help.
Originally, I wanted to be a composer. I always tell people, 'I think of myself as a composer.
Originally, I wanted to be a composer. I always tell people, 'I think of myself as a composer.'
I'm not a script composer. I'm a film composer and my brain is excited by images and moving elements.
I dream of a collaboration that would finally be total, in which the librettist would often think as a composer and the composer as a librettist.
In a way, the highest praise you could give to a composer like Bach was to take and make your own arrangement; it was sort of an homage to that composer and to his work, so it wasn't considered sacrilegious to do something like that.
Every bit of theorizing I've ever done, including my interest in Berg, has come as a consequence of discoveries I made as a composer and interests that I developed as a composer. I never thought of my theory as being a kind of irrelevant activity to my composing.
Any composer who is gloriously conscious that he is a composer must believe that he receives his inspiration from a source higher than himself.
I always wanted to be a composer, and I sort of went in to NYU as pre-med because I just thought, 'Well... who actually becomes a composer?'
It is always interesting and sometimes even important to have intimate knowledge of a composer's life, but it is not essential in order to understand the composer's works.
It's the vision of the composer that we have to determine, and not the absolute mathematical adherence of the score. In my experience, there have been occasions where I feel that a composer has not notated something as they meant to have it represented.
Any composer will not completely enjoy the process of creating a remix. Even if one adds their own elements, the song ultimately belongs to the original composer.
I am a passionate, committed composer, and the guy I used to write musicals with, once he was able to ditch me and get a better composer, actually won the Tony.
To talk about communication theory without communicating its real mathematical content would be like endlessly telling a man about a wonderful composer, yet never letting him hear an example of the composer's music.