A Quote by Robert Stigwood

The intelligent use of contemporary music in film has an enormous audience. — © Robert Stigwood
The intelligent use of contemporary music in film has an enormous audience.
When scoring a film, empathy is the key. And it is just as important to use music to express the actors' emotions as it is to move the audience.
The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.
When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
I wanted contemporary music to be treated the same as the traditional repertoire - performed regularly by people who knew each other and the music. That is the way you convince an audience.
For me, personally, the most interesting music comes from the popular sector - from film and pop music - since contemporary classical music got stuck and went into directions where it lost a lot of the public by over-intellectualizing.
In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.
There are endless anxieties in putting a film together, and it's an enormous relief when you know it's working with an audience.
Music, for me, in a film is never... I don't want to use music as a slave of the image. I want music to be art, or a body in itself to give something to the film.
I think music is just a wonderful ingredient that helps us understand a scene better. And certainly you can overuse music, and you can use the wrong music. I probably have been guilty of these things over time. But if you use music correctly as a friend of the theme, a friend of the narrative, ou can lend some terrific connective tissue to a film.
Neil and I are most thrilled that we were able to bring musical theatre to the enormous audience that 'The Sound of Music' reached.
In India, Bollywood music enjoys a mass appeal while independent/non-film music has a niche audience.
With a time-based medium like theater or film, you can't have the audience getting restless in their seats. They're stuck there on their bums; you have to pay enormous attention to pace and you can't lose your way.
No, it's interesting to remake a film for the contemporary audience today. I think it's a good idea; it needs to respect the original idea. Don't just take the title and change everything else.
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.
The pursuit system is an ideal way to shoot action sequences. It enhances the picturisation and captures the scene so well that the audience can feel the thrilling speed of the chase sequence in the film. 'Dhoom 3' is the first Hindi film to use this technique.
There is a kind of adventure- and risk-seeking audience in classical contemporary music that is really empowering and part of what draws me to it. The people that come to these concerts are open-minded and curious.
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