A Quote by Paul Wardingham

After working as a producer on many pop, electronica and some soundtrack, incidental music projects, I became more focused on film and TV scores. — © Paul Wardingham
After working as a producer on many pop, electronica and some soundtrack, incidental music projects, I became more focused on film and TV scores.
Prince turned experimental music into pop music. 'When Doves Cry,' the whole 'Purple Rain' soundtrack - he was inspired by the Cocteau Twins and new wave pop and brought it into R&B when he first started, and then it became this cool, next-level, kind of hard-to-digest music. Which is what I felt 'House of Balloons' was.
My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.
I'm not a pop rapper. That's nothing against pop music - I love pop music. I've jumped on pop records for people and still will, but I'm not a pop artist. I didn't start from there. I started in underground music. I consider myself an underground artist, as well as a producer.
The way that I write songs is pretty simple. I hear music first, much like you would when you're scoring a film. I usually hear a soundtrack in my head, and after I get that soundtrack, it tells me what it's about, what it feels like, what the emotion is, and the words come after.
Immediately after the Floyd experience, I became a pop record producer.
I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet.
I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.
I think pop music is in such an exciting place right now, and I do kind of credit that to Lorde with 'Royals.' I think that song changed everything in the pop scene. All of the sudden, alternative pop music became pop music.
The Saina Nehwal film's soundtrack is one of the most prestigious and powerful scores I have worked on.
We [Elbow] have had some luck with media syncs in film and on TV. We'd love to do a soundtrack with a really cool director.
Music scores your life. You interact with it. It becomes the soundtrack to that one summer with that one girl.
I think after a few years and working on so many projects, you don't get jaded but the level of your expectations is minimal, especially the way the music industry is today.
I always wanted to merge heavy metal with pop music, but I think that because I grew up more with pop, the Beatles and the Stones, I tended to affiliate myself with those projects.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
I love film scores and opera, and I wanted to work in those forms. But theater was more accessible. And no one was doing this in the late 1970s, when I began working in the theater. So, I have written scores for thirteen plays, which are not musicals, but straight plays.
We're in a situation now where we've got five long-play records of sort of eerie psychedelic pop music. I don't think that we can make another one. That's really my position on it. If we were to do a film soundtrack or something else where I could take the rest of the band with me. I really don't think bands should make more than five records anyway. In fact, five is one too many. We'll have to see how it pans out.
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