Top 298 Soundtrack Quotes & Sayings - Page 5

When I was touring in Texas, that was before iPods and Spotify. Driving around through towns, I had to, out of necessity, scroll the radio. Whatever region of the country you are in, that's a great way to find out what they listen to. You find music wherever you are, and that becomes the soundtrack for whatever your road trip is.

It's hard to explaining exactly what happened, but I felt in that moment that the divine, however we may choose to define such a thing, surely dwells as much in the concrete and taxi cabs as it does in the rivers, lakes, and mountains. Grace, I realized, is neither time nor place dependent. All we need is the right soundtrack.

I think a comedian has a more specific job. Whereas a musician can fall into different categories, you know, of making background music or doing a soundtrack or wanting to be in a band or writing the song, or writing your own songs. And then comedy is a very black and white thing. You want to make people happy.

Come here and take off your clothes and with them every single worry you have ever carried. My fingertips on your back will be the last thing you will feel before sleeping and the sound of my smile will be the alarm clock to you morning ears. Come here and take off your clothes and with them the weight of every yesterday that snuck atop your shoulders and declared them home. My whispers will be the soundtrack to your secret dreams and my hand the anchor to the life you will open your eyes to. Come here and take off your clothes.

Music is very, very important in my movies. In some ways the most important stage, whether it ends up being in the movie or not, is just when I come up with the idea itself before I have actually sat down and started writing. I go into my record room... I have a big vinyl collection and I have a room kind of set up like a used record store and I just dive into my music, whether it be rock music, or lyric music, or my soundtrack collection. What I'm looking for is the spirit of the movie, the beat that the movie will play with.

Painting doesn't have a function, not in the way that music or film does... I mean, you can dance to music. Music can be used for a soundtrack, so it has a function in that sense, beyond itself. But painting doesn't... But I do believe that painting has a purpose.

After months of playing air guitar to 'Free Bird', what really got me into guitar was watching a documentary about Jimi Hendrix and picking up the Woodstock soundtrack. Listening to his version of 'Star Spangled Banner' and 'Purple Haze.' My brother played acoustic guitar and, idolising him, I thought, 'I'm going to get a guitar.'

A good score should have a point of view all of its own. It should transcend all that has gone before, stand on its own two feet and still serve the movie. A great soundtrack is all about communicating with the audience, but we all try to bring something extra to the movie that is not entirely evident on screen.

I realize that people fly with small children all the time, and that babies are easier in some ways because all they do is sit/lie around anyway, but damn it's hard to keep a baby comfortable on any flight, much less a long one, particularly amid the looks of horror they will get from fellow passengers as it dawns on them that their 10- to 13-hour flight might come with a soundtrack of screaming baby.

In our country there's never been a successful progressive struggle that did not have a soundtrack, whether it was the civil rights movement, workers' rights movement, women's rights movement. There's got to be songs at the barricades, and those are the kinds of songs that I try to write.

I'm a big collector of vinyl - I have a record room in my house - and I've always had a huge soundtrack album collection. So what I do, as I'm writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.

We're in a situation now where we've got five long-play records of sort of eerie psychedelic pop music. I don't think that we can make another one. That's really my position on it. If we were to do a film soundtrack or something else where I could take the rest of the band with me. I really don't think bands should make more than five records anyway. In fact, five is one too many. We'll have to see how it pans out.

My embarrassing confession is that my father is a 'Camelot: The Musical' obsessive. So as a child, when we were going to visit relatives on the weekend, whenever we were driving back on these three-hour drives, he would be playing the musical soundtrack on repeat, on the cassette in our car, to the extent that we begged him never to play it again.

When I invite people over to my apartment, they usually don't like it because the music I play confuses the crap out of them - I'm making people listen to the 'Final Fantasy' soundtrack, and they're like, 'Why is this happening? Let's just leave and find somebody who wants us to have fun and not teach us about something.'

I play the guitar. This year at the Sundance film festival, I joined the band from 'The Guitar' on stage. We warmed up for Patti Smith, and then the director Michel Gondry got on the drums to play some songs from the soundtrack to his film Be Kind Rewind with Mos Def. It was pretty mad.

I'll tell you what bothers me. This music business is so crazy. They think everything is a game, or everything is a fad or trend to win. I see people saying, 'My next album is going to be my honest album, the whole truth, nothing but the truth, my deepest secrets, the soundtrack to my life.'

Did he just rip out the engine?" I asked. "Yes", Saiman said. "And now he is demolishing the Maserati with it." Ten seconds later Curran hurled the twisted wreck of black and orange that used to be the Maserati into the wall. The first melodic notes of an old song came from the computer. I glanced at Saiman. He shrugged. "It begged for a soundtrack.

We sing a lot of the soundtrack in this film [Swiss Army Man] - me and Paul Dano - and on the last day of filming we had to just get into the back of our sound mixer's van and record a really crappy, rough version of the singing then. For some reason that was one of the most fun days.

Prince turned experimental music into pop music. 'When Doves Cry,' the whole 'Purple Rain' soundtrack - he was inspired by the Cocteau Twins and new wave pop and brought it into R&B when he first started, and then it became this cool, next-level, kind of hard-to-digest music. Which is what I felt 'House of Balloons' was.

I would love someone to follow me around with a boom box so I could have a soundtrack to record my daily moments. That would be awesome! I also wouldn't complain if I had someone doing my hair - I have a hard time with my hair.

Some months ago, while I was preparing a new work, I told a young cinema executive my intention of including in a soundtrack two themes from Bach. But when he asked me which has been the last hit from that Bach?, then I knew that I had no longer place in cinema.

I hate people walking down the street listening to the soundtrack of their lives which responds to them but not their setting. I hate the overspill of sound which metro and subway riders are oblivious to because they notice no one and nothing around them.

I like being a storyteller. I'm bored with myself; I like to write about others. I have a lot of names in my songs: Karen, Margaret, Mary Kay. Even if it's about me, I want to put it through someone else. The music is the soundtrack to the story.

In some ways the nudity really makes people feel more uncomfortable because it's not nudity that is just making bodies look like sexy little pieces of body parts stuck together. It's much more blunt and real and there is not a sexy soundtrack behind it all.

We've been called the soundtrack of people's lives. There have been lots of downs, of course but mostly ups. That EW&F is still clicking at least twenty years on and has a life of its own, that the songs have stayed alive - we're like a good book that people go back to.

Music is very transporting. I'll hear a song for the first time and I rarely listen to the lyrics. I picture that song playing as a soundtrack to a movie, or even just in the background of someone's life. This all sounds weird, but I have an active imagination, and music opens the floodgates of that area of my brain.

I feel like I make a soundtrack for the come up, and I feel like there's so many people that's trying to figure out how to chase their dreams, or that are in the process of chasing their dreams, so they connect with that. And then being a singer, you don't really get to touch on nothing either.

I remember when the great composer Madan Mohan had suddenly passed away, the producer-director H.S. Rawail had approached me to complete three of the pending songs in the Rishi Kapoor-Ranjeeta starrer 'Laila Majnu.' I refused saying I am not worthy of sharing a soundtrack with a genius like Madan Mohan saab.

Just recently, I thought about how maybe I should have kept using the synthesisers more after 'Merry Christmas, Mr Lawrence'; then, I would have been a more unique soundtrack composer than I am now. It could have been my signature. But then, probably, Bertolucci would not have offered me to compose for his films.

I can't say to Elton, 'Hey, let's walk around the corner and have a coffee.' Someone as well-known as that can't go anywhere in the world without being recognised. Elton has written the soundtrack to a lot of people's lives, so they feel a kinship with him, so they come up, and that does colour things.

I guarantee you that Leonardo Prince is doing nothing but listening to the 'Tron: Legacy' soundtrack on loop. And he's probably seen 'Tron: Legacy' twice, or three times. And the other two times, he's taken people who he thinks are important to him, and judged by their reaction to see if he should still be friends with them or not.

...the first thing you do at the end is reflect on the beginning. Maybe it's some form of reverse closure, or just the basic human impulse toward sentimentality, or masochism, but as you stand there shell-shocked in the charred ruins of your life, your mind will invariably go back to the time when it all started. And even if you didn't fall in love in the eighties, in your mind it will fee like the eighties, all innocent and airbrushed, with bright colors and shoulder pads and Pat Benatar or The Cure on the soundtrack.

The queen of aggregation is, of course, Arianna Huffington, who has discovered that if you take celebrity gossip, adorable kitten videos, posts from unpaid bloggers and news reports from other publications, array them on your Web site and add a left-wing soundtrack, millions of people will come.

But why should you be interested in me?" Good question. I can’t explain it myself right this moment. But maybe – just maybe – if we start getting together and talking, after a while something like Francis Lai’s soundtrack music will start playing in the background, and a whole slew of concrete reasons why I’m interested in you will line up out of nowhere. With luck, it might even snow for us.

The public doesn't get to see everything. I worked with X a couple times since then. Me and X have a close relationship. We actually did a record they were going to put on the Training Day soundtrack but he ending up buying the record from me and putting it on Great Depression as a bonus track.

I'd asked for things like the 'Footloose' soundtrack and Michael Jackson's 'Thriller' for my birthdays, but I remember walking what felt like miles to this cassette shop called The Warehouse to buy Paul Simon's 'Graceland,' U2's 'Joshua Tree' and a Roberta Flack album. I had pretty good taste.

The relentless note of incipient hysteria, the invitation to panic, the ungrounded scenarios - the overwhelming and underlying desire for something truly terrible to happen so that you could have something really hot to talk about - was still startling. We call disasters unimaginable, but all we do is imagine such things. [...] That, you could conclude mordantly, is the real soundtrack of our time: the amplification of the self-evident toward the creation of paralyzing, preëmptive paranoia.

RZA helped me make my first beat, and he rhymed over it, and that made the 'Babylon A.D.' soundtrack. That first track was very raw and unmixable, but it's so anthemic. After that, I started learning how to make tracks. It was a process, but once you stop learning you're dead.

For me, Woody Allen's 'Manhattan' defines New York. Both New York and Manhattan Island should be in black in white! I always hear the soundtrack of Gershwin in my head every time I go over the Queensboro Bridge, or come in from JFK because of it!

I just sort of grew up with music always in the background like a soundtrack. And it really hit me hard when The Beatles came along, like so many people. That got me started digging back further to Chuck Berry.

If the song was upbeat, we'd get out a funky Harry Connick, Jr. album, some Louis Prima big band, or a Bob Wills swing record for inspiration and swing for the fence, hoping to get that 'soundtrack to your life' vibe. And if it was a slow song, we'd go the other way and really make it worshipful.

My daughter could do and be anything, without having to fight to get through the glass ceiling. Without having it be so extraordinary. If my daughter went to produce a soundtrack for a movie, there would be nothing extraordinary about a girl doing it. When I did it, it was highly unusual.

I think the most-played record in our house was the 'Big Chill' Soundtrack - so Smokey Robinson, Aretha Franklin, the Temptations, Otis Redding. I think that's where I got my love for a good hook, a good soul hook - really smooth and warm and from the heart.

Sometimes I'll write a song first and then I'm like, "Oh this person will be great on this song." But there are some artists I know what want, like off the top I knew I wanted Brandy and Faith Evans. Their music is like the soundtrack to my life, so it was a personal thing for me. So once they said yes, I wrote songs specifically for them.

Every time a meteor comes close to the earth, we all think about the end of the world - but our internal soundtrack doesn't turn off. We're also thinking about pizza or passing a slow tractor or making a turn, and for a magical instant, our lives seem to be in conversation with the stars.

Anytime someone uses one of my songs for anything - a ceremony or a sacred moment - that, to me, is a high honor. I'm proud of the song at that point because I'm trying to write something for humans - whichever humans want to get on board and put this in their soundtrack to their soul's development or spiritual lives.

I could sing and play as well. I've got some brothers; one of them is the drummer in the band. They're good musicians. I play for fun. They play properly. Music in general, I grew up in a house of musicians. Everybody's life has a soundtrack, I'm sitting here talking to you but there are horns beeping outside. I know I'm in New York. That's an element in the film as well. How strong that sense can be.

Closing his eyes, he sent up a prayer to anyone who was listening, asking please, for God's sake, stop sending him signals that they were right for each other. He'd read that book, seen the movie, bought the soundtrack, the DVD, the T-shirt, the mug, the bobble-head, and the insider's guide. He knew every reason they could have been lock and key. But just as he was aware of all that aligned them, he was even clearer on how they were damned to be ever apart.

My favorite films, I would put my answering machine up to the television set and hit record. I'd tape my favorite movies and then I could go back and listen to them again. I only had the soundtrack, I didn't have the visuals. But I think it made me really pay attention to the soundtracks.

I have a constant kind of soundtrack going on at all times. I almost always have a song in my head. I'm very musically inclined. It feeds my soul. It definitely helps me get into a mood or get out of a mood. Or inspires a mood. Honestly, it is one of my therapists - cheaper and always available.

There are things that make me excited about what I'm doing: Trouble the Water [the 2008 documentary Glover executive produced] on New Orleans, or something like Soundtrack for a Revolution, about the power of the music of the civil rights movement [which he executive produced in 2009]. Or Bamako, about the African debt crisis, a platform to discuss the experience of people who actually live it. All of these are important ways we can use film as a forum inviting people into a dialogue.

I've always been a fan of vinyl. There's something about the ritual of it. Something about it holds its gravity, for some reason. Sometimes you'll put on music and the music fades into the background. But when you take that vinyl out and put it down, the music becomes the conversation as opposed to being the soundtrack to it.

Walking through a crowd, the village is aglow. Kaleidoscope of loud heartbeats, under coats. Everybody here wanted something more. Searching for a sound we hadn't heard before. And it said, 'Welcome to New York,' It's been waiting for you. It's a new soundtrack, I could dance to this beat forevermore. The lights are so bright, but they never blind me.

There's a great rock and roll scene in Sweden. There are many smaller bands like ourselves that are great. Oh yes, there's a band called Eggstone, they're really good, and a band called the Soundtrack Of Our Lives, which is excellent.

It's remarkable how a soundtrack can be so important to the storytelling and the experience. I think the music is going to make people see the movie a lot. The music is going to make you want to go see it again. You have so much fun in the movie, and it's music that you want to share with your kids, anyway.

Other than the 'Sesame Street' soundtrack, which I was obsessed with, the first artist I really felt I'd discovered on my own was Amy Winehouse. She was the first female artist I wanted to write like and sing like and be like.

Women come up to us all the time and give us the most amazing compliments, like, 'Salt-N-Pepa was the soundtrack of my life.' They remind us that we meant so much to them. Sometimes artists don't really grasp that. But when you talk to fans, you get in touch with your legacy.

It is a great pleasure to be performing with a big band. Those people took part in a group that played the music from the Kino Kultura album i.e. the soundtrack music I've been doing. It is difficult to organise them all and to have those people for a certain date since they all have their own obligations and arrangements. It is a great privilege to gather all those musicians at one place, especially these that I work with, since they perform regularly abroad, at weddings or are working somewhere else.