A Quote by Skitch Henderson

I grew up on film scores and scores from films. — © Skitch Henderson
I grew up on film scores and scores from films.
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.
I grew up listening to 'Planet of the Apes' and other scores, and it was fun for me because you weren't just listening to those scores, but you were also questioning what you were listening to. What are those sounds?
I worked on scores. I went to the musical library in Berlin which is very famous. I discovered that we had scores of Beethoven, printed scores of Beethoven, that are full of mistakes. Not the wrong or false notes, but the wrong dynamic, understandable things.
My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.
When test scores go up, we should worry, because of how poor a measure they are of what matters, and what you typically sacrifice in a desperate effort to raise scores.
I have never seen a talent like Ronaldo. He always scores, scores, scores. The first game he played for Milan, Sienna away, I said to him, 'I can't put you on the pitch. You are 100kg.' 'Mister,' he said, 'don't worry, I will score.' I put him in, and he scored twice.
I love film scores and opera, and I wanted to work in those forms. But theater was more accessible. And no one was doing this in the late 1970s, when I began working in the theater. So, I have written scores for thirteen plays, which are not musicals, but straight plays.
Some of my favorite scores include Bernard Herrmann's Hitchcock scores.
You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account.
John Barry was my hero when I was about 13. His scores to the James Bond movies were the scores of my life back then.
I was asked by a golfer how to lower his scores. I replied start playing 9 holes instead of 18. I worked for me, it cut my scores in half.
Baseball is slovenly and excessive in midsummer, with its onrolling daily cascade of line scores and box scores, shifting statistics, highlights and lowlights, dingers and shutouts, streaks and slumps.
Background scores allow me an absolute flight of the imagination, and I travel in my mind's eye. I do not like the scores to have vocal notes, because they act as a limitation to these flights of fancy.
Classical scores go up and down; they're kind of hysterical in a way. And movie scores are much more - they just drive and move forward, and they build and can't go up and down at that same speed. It's a big job to turn that into something that pushes the movie along.
We're not making up merit scores for ourselves. We're making up merit scores so that we can be reborn in a situation where we can really live to benefit ourselves and others.
Ronaldo certainly scores goals, but I do too. He certainly scores more than I do, but we don't have the same style.
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