A Quote by Riley Stearns
I really like films that don't let the score influence the tone too much.
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To me, score is really important. I would rather not have any score if it's something that's going to detract from the film. So often when I watch films, the score is what really bothers me.
Sometimes a piece of music in the score isn't effective. When a score is too well finished with too many elements, sometimes it's too much.
With the black and white films, one was concerned with tone... You had to make sure that the tone of your dress was not the same tone as the curtains, for instance.
Most of my films - if you look at the tone, apart from 'Shadows,' which is straight-up comedy - the tone is a mix between comedy and pathos, and I really love that.
Most films don't have a budget for a background score, but it is the toughest job to do. We work like donkeys. And usually we get only around a month to do a score.
I can't stress too much how much Ry Cooder was an influence on me. Having one of the most respected musicians around like my singing really gave me the confidence to do it.
I tried to score a few films with this composer Brian Reitzell here in L.A. We made a bunch of music we really loved, but we got fired from the film for being too weird.
Hollywood was a good influence because I was madly in love with films, and the films had a direct influence on me.
It's really important to score for a new club early on; when you come in and score right away you feel much better.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
A role needs a certain tone, so your own tone also changes. It's not like I lock myself up in a room to get into the zone. It is based on what I am feeling, because the minute you try too much, weird things happen. Of course, for an intense role you need some silence, and you need to do a lot of thinking.
I just see many, many untruthful things. I see tone, the word tone. The tone is such hatred. I'm really not a bad person, by the way.The tone is such - I do get good ratings, you have to admit that.
Once Now You See Me proved that that tone could work, which I'm sure was a nightmare for them in post - is this too serious? Do we have to say that magic really does exist or not? - I can take that and have fun with the tone that they established.
I have this mindset and mentality every time I touch the score, and I really truly believe that. It's something I try to do a little too much.
[Malcolm Subban] is probably winning the battle cause we had a couple skates together and I didn't score too much on him. So I guess I'll say that I'm waiting for the game to score on him.
The kind of influence you want is a much deeper influence. It's like empowerment. Things are like this, but what if they were like that? What happens if you turn everything inside out? It's something that not just artists do. I think scientists do that, too. There's a theory: What if we pour water on it? That's also what a child does. If a child came in now, the child would ignore us, go under the table, and make a house.
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