A Quote by Thomas Newman
Music is such an odd thing when you think about it - behind an image until you take it away, and then you realize a movie sounds blank without it.
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It's emotion. When you are watching a movie you see a woman sitting with her daughter and looking in her eyes and you see butterflies flying in the background and then you suddenly hear scary movie music and it changes the whole thing. But if something sounds different it changes the movie. Music is the back drop of what you talk about.
Every time something is taken away, you're forced to take a step back and realize how much that thing means to you. You don't realize what you've got until it's gone.
I think the thing about acting and making music is that it's easy to do both. I'll shoot a movie for three months, and then I won't have to work for however long I want to. So, I can do a movie for a couple of months and then come and do music for a couple. But whatever's hot at the moment is what I'll gravitate toward.
You never know if it's any good until people respond to it. You know how it feels when you do it, but there's so many things involved. The thing you do realize is, if the movie isn't any good, then it's your fault. That's what you think about.
MCs want to represent how it is on their streets. But many of the younger ones are closed-minded: they think about the image more than the music. But as they grow older they realize the music matters more than their image.
I'm quite an odd little part of the Venn diagram. I'm not a movie star and beautiful in that way. I do an odd thing that's funny and sad, and my face and my old body can take that.
There is always pressure in any movie set. If you think about it, there is something that you memorize and it is almost like public speaking every day, all day. There is a crew of people, there are monitors and if you mess up, you have to do it until you get it right and then sometimes, you would go blank.
Ghost Team approached me. They said, "Hey, it's mid-October, do you want to go shoot a movie on Long Island for three weeks about stupid people chasing ghosts?" I had never done anything like that before. It's kind of a mock-horror movie. What I didn't realize was the whole thing takes place at night, as a horror movie should, and so I didn't realize that we'd be working until 6 in the morning every night, or morning.
I turn on the machines and start to think about ideas and take it from there, it usually begins if it's a beat, a track creating a beat/beats and then the bass-line/lines, then comes the sounds--drones, atmospherics etc, then the edits of various sounds I created and keep going till I feel I have enough sounds ideas to start working and building a track. I have many banks of sounds that we hear that can be manipulated in the machines.
I'm always looking for sounds that are pleasing at the time. The sound of a helicopter is really annoying until you're drowning, and it's there to rescue you. Then it sounds like music.
I didn't realize - you think you are doing a movie but then you realize it's a Columbia Pictures movie so it's probably going to have some publicity. Then you see a billboard and it's like, 'God! I'm on a billboard!' It doesn't hit all at once, it kind of unravels itself and it's still unraveling.
A lot of times you can write a scene with a specific song in mind, and then you lay it over the image, and it kills it. I can never figure out why certain music works. Some music you listen to and say, "Man, that would be great for a movie." But when you try it, it's horrible, because the music itself is cinematic. The weight of it kills the image.
Our music is harder to play than it sounds. It's the small details you don't realize are there until you try and re-do it.
I think that the way that I write stories is by instinct. You have some basic ideas - a character, or an image, or a situation that sounds compelling - and then you just feel your way around until you find the edges of your story. It's like going into a dark room... you stumble around until you find the walls and then inch your way to the light switch.
The Control movie is not about suicide, it's not about epilepsy, it's not about everything else, but it's about an individual who was thinking out of the box and took his own passion and created music. His negativity and whatever else, he bottled them up and spilled them out onto his world of music. I think a sense of hope comes from the end of the movie, in my mind. Some people come out of the movie and think, 'That's the saddest thing I've ever seen,' and others come out and think, 'God, there's optimism.'
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
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