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I've been very fortunate as a composer to be involved with projects that have really propelled my scores forward. I'm very proud of it.
I am not so complicated or intelligent a composer, nor am I very interested in becoming so. I am much more happy doing what I know I can do than what I am not sure I could do.
The real composer thinks about his work the whole time; he is not always conscious of this, but he is aware of it later when he suddenly knows what he will do.
The art of making films is a collaborative art. As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.
I continued to study Math and Physics on my own, but one and a half years later I realized that I did want to be a composer, and after that I never changed my mind.
I also had a brother who was like me a musician and a composer. A man of great talent, far more gifted than I. He died very young... he killed himself in the prime of his life.
I think it's really the job of the composer, the artist, the painter, the writer to present people with options. I'm just really reflecting the thoughts and actions around me.
The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted.
I couldn't say I ever dreamt of becoming a composer, a pianist, or anything else for that matter. I have the kind of brain where nothing is set in stone.
Why should the composer be more guilty than the poet who warms to fantasy by a strange flame, making an idea that inspires him the subject of his own very different treatment?
That is basically me, and although I have done many things in my life - conducting, playing piano, and so on - what is fundamental is my being a composer.
With Hitchcock I had little relationship. I was called to replace Bernard Herrmann, his favorite composer, in Torn Curtain, after the bitter fight between them.
Asking the author of historical novels to teach you about history is like expecting the composer of a melody to provide answers about radio transmission.
If my serenade of song and story should serve as a pillow for some composer's head, as yet perhaps unborn, to dream and build on our fond melodies in his tomorrow, I have not labored in vain.
The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment.