Brian Reitzell Quotes
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I only want to make enough money to make more music.
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'Hannibal' is not reality; the whole show is not reality. It's heightened reality: they want music the entire time.
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One of my first favourite records of all time, as a kid, was 'Tommy' by the Who. Now that wasn't really a soundtrack, but it was.
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I think that this television medium, or whatever we call it now, is a really great frontier to turn people onto music - to new music or old music. It's a great platform where you've got people's ears, and you can throw something at them. I like to use it to the fullest that I can.
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I don't think nightmares are necessarily bad for you.
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'Auto Music' isn't a pop record by any stretch.
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I love futurist music.
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The older I get, the more I think birds are the best musicians on the planet.
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I really don't like the way most movies and TV shows are supervised - I hate when there's someone singing over dialogue, songs just thrown in there.
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There's nothing worse than being stuck with a bad song.
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The library companies have made it so that music is so cheap to license. They do sound-alikes of every band, and it makes it harder for the actual bands to get any decent paychecks for licensing.
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If I put the sound of the ocean on, that's going to do something to you. And I know what that is because it does it to me, too.
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Every continent on Earth has a form of bullroarer - it's the oldest instrument known to man.
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The movie I worked on that had the most problems and interference came from the smallest indie movie I've ever done. I couldn't believe what the director had to go through; he was destroyed.
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With 'Hannibal,' it's like reactive scoring so I don't get ahead. I don't read a script; I don't want to know what's going to happen until its happening in front of me and I'm able to have an instrument in my hands that I'm playing to make some kind of a map, some sort of tonal map, that I can then build on.
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To me, 'Auto Music' wasn't work. It was in-between work.
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I think for a horror experience to be really scary, something has to be a bit of a shock and a surprise. It's like something you've never experienced before.
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I'm always full of ideas. I just haven't stopped doing what I did as a teenager. Now I just happen to get paid for it!
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With 'Hannibal,' it's almost like the music is part of the furniture, so as a character goes from one room to another room, or we go from one place to another or whatever, the music is just going with it the whole time the same way that the audience is sort of tracking it and following along.
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I'm not a sports fan, but I remember watching highlights with post-rock guitar instrumental music over these slow-motion shots of football players. It's triumphant, and it's emotional, and that's what sports are for.
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With 'Hannibal,' I just really want people to feel something.
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I love collaborating because I come from the world of being in bands.
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'Loveless' was a really big record for me. It was what was keeping me alive when I was still touring with Redd Kross.
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'Lost in Translation' was a year of my life, if not more, and then 'Marie Antoinette' was about three years of my life.