Steven Price Quotes
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With a lot of action scores, you're competing with a lot of noise. Say there's a big explosion: the music would conventionally have a lot of Hollywood-style percussion or brass, because that's the only thing that will cut through.
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A lot of the music editing job is communication and working out what a director really wants the music to be.
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Fear is one of those really primal emotions which you don't want to have incredibly exciting modulations and complex harmonies and all that kind of stuff.
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I like taking my leads from what I see rather than trying to impose. I like that way of looking at things and seeing what's on screen and seeing how I can draw music out of it almost.
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Every one of us has a response of some kind to music, so I don't think it's fair to ever judge what is proper and what's not.
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I go into the whole composer thing quite open to keep on going and keep on trying different things because you never know... the next idea you have might be the one.
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The realisation that, depending on where we changed from one note to the next in a melodic line, the music could subtly influence the entire meaning of a scene in so many ways was like a door opening to this amazing new world for me.
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My house was full of music. My main memories are of the record player at home: it was all Beatles and Rolling Stones, and we danced around the living room; that started me off on instruments, and I've done nothing else ever since.
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For me, anything can be music! I can get huge enjoyment and be moved totally by the purity and perfection of some Renaissance polyphony, but equally I can feel emotion in the expectant hum of a big old guitar amp just before the strings are hit.
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The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.