A Quote by Sergio Leone

I don't enter into particulars with [Ennio Morricone]. I give him the feeling and the suggestions of the characters.

Sergio Leone

Quote Topics

Characters Enter Feeling Give Him Suggestions

Quote Author

Sergio Leone
Italian - Director
January 3, 1929 - April 30, 1989

What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.

Sergio Leone

From Ennio [Morricone] I ask for themes that clothe my characters easily. He's never read a script of mine to compose the music, because many times he's composed the music before the script is ever written.

Sergio Leone

To me, the Ennio Morricone kind of sound is a derivative of soul music.

Adrian Younge

A lot of Ennio Morricone's music is just - it's very soulful, very cinematic, and very psychedelic.

Adrian Younge

Ennio Morricone is royalty. He doesn't really do this a lot and Quentin brought him back [in Hateful Eight]. Quentin [Tarantino] basically went back and made his The Good, The Bad and The Ugly-kind of film, the ultimate epic spaghetti western, and then you've got mister spaghetti western himself scoring your movie. It's gonna be hard to not vote for him in a landslide. Probably the easiest win of the night.

Bun B

In my opinion, one of the biggest drawbacks about Sergio Leone films are the scores composed by Ennio Morricone. If [Leone] were as talented as I am, he would have made mixtapes for his movies instead of letting some schmuck write the soundtracks for him. But then if he were as talented as I am, he'd be Zach Braff. And have his own Grammy.

Zach Braff

I've always felt that music is more expressive than dialogue. I've always said that my best dialogue and screenwriter is Ennio Morricone. Because, many times, it is more important a note or an orchestration than a line said.

Sergio Leone

The thought of the novelist lies not in the remarks of his characters or even in their introspection but in the plight he has invented for his characters - in the juxtaposition of those characters and in the lifelike ramifications of the ensemble they make: their density, their substantiality, their lived existence actualized in all its nuanced particulars, is in fact his thought metabolized.

Philip Roth

It was a testament to the resilience of humanity. Give a man a tree and he will make it into a boat; give him a leaf and he will curve it into a cup and drink water from it; give him a rock and he will make a weapon to protect himself and his family. Give a man a small box and a limit of 140 characters to type into it, and he will adapt it to fight an oppressive dictatorship in the Middle East.

Nick Bilton

In my opinion instruction is very purposeless for such individuals who do no want merely to collect a mass of knowledge, but are mainly interested in exercising (training) their own powers. One doesn't need to grasp such a one by the hand and lead him to the goal, but only from time to time give him suggestions, in order that he may reach it himself in the shortest way.

Carl Friedrich Gauss

In displaying the psychology of your characters, minute particulars are essential. God save us from vague generalizations!

Anton Chekhov

I wanted to give readers the feeling of knowing the characters, a mental image.

Michael Chabon

In displaying the psychology of your characters, minute particulars are essential. God save us from vague generalizations! Be sure not to discuss your hero's state of mind. Make it clear from his actions. Nor is it necessary to portray many main characters. Let two people be the center of gravity in your story: he and she.

Anton Chekhov

I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.