A Quote by William P. Perry

Composing for concert performance is a somewhat lonely occupation, but composing a film score is highly collaborative. — © William P. Perry
Composing for concert performance is a somewhat lonely occupation, but composing a film score is highly collaborative.
Composing a concert is like composing a menu.... If you start with light pieces and play a 45-minute sonata after the interlude, it's like starting dinner with hors d'oeuvres and dessert and finishing with a Châteaubriand and vegetables.
Composing a melody or a western song is easier than composing a commercial number.
When I'm by myself - composing or writing film scores - it's very lonely. I'm just sitting by myself in the studio.
I always tend to think that composing is not playing an instrument, composing is having something in your head that's steaming and it has to go out. It has to become sounds and be written. It's an emotion that you can't repress.
Since age seven, I've been composing and have never stopped composing, yet, the creative process is as elusive to me as it has ever been.
I used to do most of my composing at a little table in a cafe. Composing for 52 instruments, I had to figure out how to accommodate myself to the small table.
I was 7 years old when I began composing. I began composing, improvising at the piano, the usual story.
When we hear a Mozart piano concerto today, we're most likely to hear the piano part played on a modern concert grand. In the hands of a professional pianist, such a piano can bury the strings and the winds and hold its own against the brass. But Mozart wasn't composing for a nine-foot-long, thousand-pound piano; he was composing for a five-and-a-half-foot-long, hundred-and-fifty-pound piano built from balsa wood and dental floss.
All of a sudden it hit me - if there was such a thing as composing music, there could be such a thing as composing motion. After all, there are melodic figures, why can't there be figures of motion?
Isn't composing music akin to film direction?
The process of composing the film score for each movie is completely different. They all have their own personality and their own completely different life, but there's never been a formula. Each time, it's a new thing.
I could create music that sounded as strange as any electronic music, because you see, my opinion about electronic music is that the real composer is the guy who invented the instrument. Pressing buttons is not composing. Composing is about creating something.
There's a thing about film composing and conducting in my family.
My best film composing experience was with Elia Kazan.
While the concert is instant communication with the audience, composing is a creative process where a song comes up out of nowhere and then transmits happiness to many, translates into money, fame, or whatever.
I'm also always thinking about the score as a recording, as opposed to a performance that can be recreated in a live environment. Some of what I write could of course be played in a concert hall, but for the needs of a film I don't consider that.
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