A Quote by Ramin Djawadi
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.
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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.
I'm gonna play this game the way I want to. It might be serious, it might be a comedy, it might be a dramedy, it might be variety, it might be a talk show, whatever. There's no box.
When we talk about music, we talk about our reaction to it. One person might say that music is so poetic, while another says it's all mathematics. Yet another might say it's about sensuality, and so on. That's all true. But music is not just one of these things. It's everything all at once.
Music in a movie might tell you about longing. It might tell you about fear. It might tell you any number of things, but it tells you something different. Something happy might be going on, but there can be this little sad tinge underneath that tells you something.
The first question she was asked was What do you do? as if that were enough to define you. Nobody ever asked you who you really were, because that changed. You might be a judge or a mother or a dreamer. You might be a loner or a visionary or a pessimist. You might be the victim, and you might be the bully. You could be the parent, and also the child. You might wond one day and heal the next.
I love artists making cool music, regardless of the style.So, if a country artist making really cool music came along and asked me to work with them, I just might say yes, even though I'm not super-knowledgeable about country, like I am about hip-hop. I might do that because the idea is so interesting.
There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.
When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.
The Army might screw you and your girlfriend might dump you and the enemy might kill you, but the shared commitment to safeguard one another’s lives is unnegotiable and only deepens with time. The willingness to die for another person is a form of love that even religions fail to inspire, and the experience of it changes a person profoundly.
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.
When I have to score a film, I watch the movie first and then start thinking about it. And from that moment on, it is as if I were pregnant. I then have to deliver the child, so from that moment on, I think always about the music - even when I go to the grocery store, I think about it.
In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star ... Today people can idolize a star in one area and forget about him in another. A big rock star might sell millions and millions of records, but then if he makes a bad movie ... forget it.
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.
We mapped out the whole movie, and then worked backwards from that to do these shows. It might not be a movie. It might be something else.
You figure out how to create opportunities to make music, and then, if you take care of the music, audiences will come around. They also might leave. What matters is the moment: the moment of making music, with and for and among others, and what that offers to those people in that moment. They might never see me again; they might never learn my name. But it might still be something they carry with them.
One of the things that Ivar knew about Mrs. Walker was that she would only tell him what she knew if he asked the right question, so he spent a portion of his time meditating over what he might ask Mrs. Walker and how he might phrase the question.
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