A Quote by Ramin Djawadi
I'm a very visual person when it comes to writing music. I like to see something besides just a script, even if it's just a storyboard or pictures from the set.
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If I don't see a music video to it while writing it, I just scrap it immediately. It's very visual.
A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.
I enjoy 'Life Aquatic.' I think that one, from a visual standpoint, is just such a fun, visual movie to look at, whether it's the shots of the ship cut down the middle, that set where you can see everyone in each of their rooms doing whatever and moving about - something like that, I could watch that on a loop for an hour.
I think my music being referred to as "cinematic" has a lot to do with people just not being used to listening to instrumental music without watching a film. I'm still pretty convinced of that. You'll play Chopin in place of something average and like, "Wow, that'd be great in a film." People say it every time, swear to God. I don't think people have a good relationship with instruments and music anymore. But it's definitely visual; I started writing with this band because of the pictures. I can't really deny it either, you know?
I see my music as a visual thing. When I'm on stage I am very expressive with my face and through my performance - kind of like an actress but not really, it just rises up from inside with the music.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
When I storyboard, they're just fragments of thoughts. I write in three acts like a movie, so I have my plot points up on the preliminary storyboard.
I liked Bollywood a lot growing up; I just liked the idea of seeing people that looked like me on a big screen, that alone just does so much for confidence. I'm a super visual person, I need to see something before I do it.
I can be surfing the exact same wave and then sometimes something will just set off, even if I'm riding the same board the whole time. Something will just set off and it just feels like you can push just that extra bit harder.
I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
An eye-opening moment in my life, a very defining moment, was the first time I met Susan Sarandon [before shooting Thelma & Louise]. We were going to meet, just Ridley [Scott] and Susan and I, to go through the script and see if we had any thoughts or ideas. I was reading the script, and in the most girly way possible, meaning that if it was a line that could change or something different I'd like to see, I would think about each one and say, "Well, this one can wait till the set because I don't want to bring up too many things."
I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.
Every time I do a movie, I'm reading the script, or if it's something I have coming up, I'm reading the script, and I just spend hours and hours and days and weeks and months going over the script and just writing a lot of different ideas down, finding a little dialogue or just coming up with ideas for scenes and moments and all that kind of stuff.
I have a preference for writing that deals with domestic issues; even in visual art, I like work that focuses on very small aspects of human life. I like movies that have a very narrow focus. I can see how it might be viewed as limiting, but I don't experience it that way.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
I have so much music that I do. Just like how a visual artist is always sketching something but they might not share it, I'm always writing songs or coming up with melodic lines on piano or guitar. It's therapy. It's always happening.
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