A Quote by Duncan Jones

You go through different stages when you're working on the music in film. At least, I do. You have a temp score, so you have music from other people, usually from other movies, to give you a sense of what the mood is supposed to be, what the atmosphere is.
There are two things that really move me: music and acting. And I'm not talking about my music or watching myself as an actor, but listening to other people's music and watching other actors. There are so many different songs that have moved me. It all depends upon the mood that I'm in at that moment.
I think people use temp music quite a bit, but the people who write the temp music don't ever really learn that their music was inspiring a movie.
I definitely want to act, but I also want to score movies, and I have this idea to fuse classical music with other styles that would give it a different perception.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
With 'Ekla Akash,' I have sought to re-capture a different feel and mood, I will also explore other realistic films through music.
For me the journey of making a film is a journey of discovery as to what that film is. I mean what I do is what other artists do, painters, novelists, people that make music, poets, sculptors, you name it. It's about starting out and working with the material and discovering through making, working with the material the artifact.
When I give a concert, I know they're not going to hear everything; there might be a lot going on. My individual perceptual and cognitive path through the music is just that: one path through music. My experience will be probably at some level different from other people's, and that multiplicity of experience has to be supported by the music. I might just focus on the cowbell the whole time - maybe I have a fever for more cowbell!
I very much enjoy working with talented filmmakers who have a good sense for music, who have a strong feel for music and for what music can do in a film.
Fanzines are very important for sharing stuff that you're in to, with the readers and listeners. We met through the love of discovering music and it makes sense, to want to share that music with other people.
I feel I have to play a role in the transformation of my thoughts. Music is the most powerful way for me to do that, through my own music, through listening to other people's music.
It's too bad music can't be like movies. For me, playing music and listening to music and creating music is very environmental. It creates a certain environment; it sets a specific mood.
It's fun, working with different people, everybody works differently. When I have time off from music, I want to make other music. That's what I do, that's what's fun, that's what makes me happy.
Music makes or breaks an atmosphere. It helps to create the mood and also is a very important aural cue; simply shut off the music when you want people to leave.
It's fun to take songs from a completely different context and reframe them. We did two mixtape albums called 'Other People's Heartache' and 'Other People's Heartache Pt. 2,' which were full of those kind of covers and mash-ups, mixed with film music and film quotes.
I always wrote the music first, and the music gave me the mood and the lyrics were pretty much put in to give you a map, where that mood came from and where it's going. But my first love was really the music itself, and I guess I've gone back to that.
Electronic music lends itself to an abstract way of storytelling, so it keeps evolving. Theres a whole movement truly driving music further and there is no other music innovating as much as film music
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