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Like many composers, most of my compositions are influenced by the music I've listened to throughout my life.
The most important person is the audience and the composer. The rest of us - and even the composer is a servant to the audience. And of course, the audience is a servant to the higher art.
Jerry Goldsmith is an artist who meets all the demands upon the composer in films. He communicates, integrates, subordinates, supports, and designs with discipline.
Frank [Zappa] said he probably would have been a major criminal, given his brain power and his attention to detail, had he not been a composer. But being a composer is not something you can't help.
There are some composers - at the head of whom stands Beethoven - who not only do not know when to stop but appear to stop many times before they actually do.
For my qualifying concert, Helmut Walcha would not coach Charles-Marie Widor or any American compositions. In his defense, his forte was Germanic composers, and his forte was really a fortissimo!
What's great about [Guettel] is his very distinct voice as a composer. And that distinct voice is something worth cherishing and expressing so we just didn't want to screw that up.
Notes are part of life for any composer for hire. There's no way around it. I think anyone who has done even a small number of films as a professional composer gets used to that idea pretty quickly.
Once embarked on a course of sensationalism, the composer is forced into a descending spiral spin from which only the most experienced pilot can flatten out in time.
When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play.
I always felt that one day I would have to make the change in my own life, bite the bullet and see what it is to be a composer who conducts rather than the other way around.
The people of your century no longer require the service of composers. A composer is as useful to a person in a jogging suit as a dinsoaur turd in the middle of his runway.
I can play the guitar, the dulcimer, the piano, and the drums. However, I am not a "performance quality" musician. Rather, I am a composer and a producer.
One yearns unspeakably for a composer who gives out his pair of honest themes, and then develops them unashamed, and then hangs a brisk coda to them, and then shuts up.
If you're the sort of person that likes a job where once you know what you're doing you can keep doing what you're doing, don't ever become a film composer.
I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
You never know what you're going to share. I can play, I know what is written - the marks, the things the composer tells me to do - and I do it, but it will still sound different each day.
The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.