A Quote by Jon Hopkins

When you sit there doing a film score for three months there's no time to experiment. — © Jon Hopkins
When you sit there doing a film score for three months there's no time to experiment.
I meet all these American filmmakers that film for months and months, and it's a mystery to me. I couldn't make a film like that. I have to be very clear in what I'm doing and where it's going, and be very disciplined about what I film.
Doing background score for a film is not an easy task. It requires constant and deep learning and it is the only way to create a score with finesse.
When I make a film, I don't watch a lot of other films. I read a lot; I try to read poems, things that can liberate my human condition, that make me go away... I spend a lot of the time doing nothing, just concentrating on the subject. Sometimes I'll sit in my chair for two or three hours without doing anything.
On 'Lost,' I write a score and orchestrate it on days one and two; I record it on day three. In animation and film and videogames, you have a little more time to work things through.
I remember the first time I stepped into a WWE ring, and I got critiqued, and I was told I'd be gone in three months. Here I sit ten years later, and I'm the Intercontinental champion.
I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.
For an actor, to go to work every day is a really rare occurrence. You may work on a film for three months max, and then you're off, so you have to find another job and then work another three months.
The negative about acting is that you have to spend a great deal of time away from your friends and loved ones, but it's not like working a 9-5 job and only having two or three weeks off a year. I may not have seen my girlfriend for two or three months, but then we can spend two or three months together solidly.
One of the positive aspects from my point of view in terms of lifestyle doing film is that I can say "Well, I'm now going to have three months where I'm just going to hang out and be with the family".
By the end of the shoot [of Wrestler], my trainer was pushing me up three flights of stairs to my house and holding my arm like I was an old cripple. I had three MRIs in the first two months of working on the film. I felt like it really was over by the time we started shooting the movie.
One time, when I was in my teens, jamming in a Kansas City club, I was doing all right until I tried doing double tempo on 'Body and Soul.' Everybody fell out laughing. I went home and cried and didn't want to play again for three months.
Experiment is actually doing the art. That's the experiment and then you get to experience the experiment.
So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.
I always say it takes three weeks to know a character and three months to own it. And I think that's probably true of every theater artist. If you really want to see a performance of the show, wait three months.
Usually, you can live very well for two, three months, then you're in trouble. Every coach, I think, is like this. For two months, you're happy because you have time, and after two months, you miss adrenaline.
Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.
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