A Quote by Ryuichi Sakamoto
You can use existing music in a film, but creating a soundtrack is very different. One note can be enough.
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I've actually done more [music for] films than television. I love the process of writing for a film. I love that you are creating this suite of music for a film, that's all tied together sonically and thematically and hopefully people associate with the film. They all are meaningful to me in different ways.
A huge part of my writing process is listening to music as I write, almost creating an unofficial soundtrack to the film I'm working on, a sort of playlist. But the specific songs change rapidly as I write.
There's the soundtrack to The French Connection II'I think It's my favorite soundtrack. It hasn't been released. I actually had to go and get the film and just make a recording of it to get the music.
We're creating a different universe with different rules and a different tone and different villains. We were very careful to honor the iconography of Spider-Man, but we wanted to tell it in a new and different way [in the film].
The way you hold the bow, the way that violinists are trained to produce a note, is really different. I'm not an expert in classical music. I don't want to say something that ends up in print and somebody comes running after me with a shovel, but they're taught for each note to stand alone in a very deliberate kind of way, which is really different than how notes are strung together in old-time music to create rhythm.
When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.
I think the idea that people walk around to music is very interesting. They are actually creating the soundtrack to their lives as they walk around to it.
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.
Different directors have different techniques in the use of films. Cronenberg is very different in the way he works with film, and how he takes the audience into his films is different than how Peter Jackson would do that or Jon Stewart. So, if you go between those artists, you shift gears and you kind of fall into the working method of that film.
Usually, when I do a soundtrack, the music from the movie doesn't have anything to do with me personally. It's music to enhance to the film. My own stuff is more introspective and about what's on going in my head.
I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.
I've always loved film and wanted to work in film. I just love working and creating new characters, and trying different genres and different things.
I cannot imagine myself fitting into the existing curriculum. I am too self-willed for that and have had my own very definite ideas for a long time, very different from the existing ways, as to how architecture is to be taught.
I want to remind people that there is no soundtrack in 'Southland;' there is no scored music or soundtrack telling you what you're supposed to feel.
That was a very natural process because as I was creating the animatic I added music clips as reference of the kind of music I wanted in the film. These were from musicians like Naná Vasconcelos and Barbatuques, the body percussion group.
It's typical for video customers to often use licensed music - whether a soundtrack, background music, or sound effects - to complement their video projects.
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