Music Score Quotes

#1. Telescopes and bathyscapes and sonar probes of Scottish lakes, Tacoma Narrows bridge collapse explained with abstract phase-space maps, some x-ray slides, a music score, Minard's Napoleonic war: the most exciting new frontier is charting what's already here.

Randall Munroe

#2. I'm also very pleased that we were able to include a full orchestrated score for Dragon's Lair 3D. The 40 different music pieces blend with the action to make you feel more a part of the whole adventure.

Don Bluth

#3. Music could do that, create a magical oasis where nothing else mattered except hearing the next line of the score.

Elizabeth Camden

#4. I would do the occasional score. I thought it was the most thrilling thing. It was instant. You made the music and they played it right away to millions of people. I found it thrilling.

Elmer Bernstein

#5. It is when music is added that a film can come to life for a director. A live orchestra, playing the score as a conductor watches the film on a huge screen, often gives a fimmaker the first real glimpse of his soon-to-be-completed work. That's where the magic is.

Robert Paul Wolff

#6. Do everything you can to learn your craft. Score student films for free, attend conferences, learn music theory - do anything (and everything) you can.

John Keltonic

#7. No matter what, I'm never going to get an anthology from an actual publisher, though I could always score another music anthology. But if this is going to be a document of a multiplicity of my writings, it'll do. It feels like a birthday party or something.

Richard Meltzer

#8. A fragrance is a veritable story, told and explained in scent, in notes, in impressions. It's a score based on the emotions of each instant, a captivating music of the senses.

Alber Elbaz

#9. You go through different stages when you're working on the music in film. At least, I do. You have a temp score, so you have music from other people, usually from other movies, to give you a sense of what the mood is supposed to be, what the atmosphere is.

Duncan Jones

#10. There's a lot of money in doing score music. You can get a chance to get nominated for an Oscar; I would love to get nominated again.

Juicy J

#11. I have a lot of intention behind what I put out there. The reason all this stuff I do works together, the environmental and social, collaborating with ballet companies to score a show, the bike tour - all of that stuff comes together through community building with music.

Ben Sollee

#12. The chamber music repertoire is so vast that if one is genuinely curious about music, the art of listening, understanding and responding to a score, the elementary skills and requirements of chamber works are easily applicable to that of any solo playing.

Wu Han

#13. I tend to score with songs from Western pop music.

Danny Boyle

#14. He doesn't comment on any of the music I play: Sonny Rollins followed by AC/DC followed by the Broadway score from My Fair Lady.

Tawni O'Dell

#15. When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.

Ethan Coen

#16. My first score for 'The Lord of the Rings' trilogy, 'The Fellowship of the Ring,' was the beginning of my journey into the world of Tolkien, and I will always hold a special fondness for the music and the experience.

Howard Shore

#17. Music would lose its charm were not dissonance interspersed at frequent intervals. The closer a composer can come to discord without actually entering it in the score, the more pleasing will be his composition when given life through musical instruments.

Max Heindel

#18. When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.

Alan Price

#19. The score must govern the music. It must have authority, and not merely be an arbitrary jumping-off point for improvisation.

Cornelius Cardew

#20. All music is what awakes from you when you are reminded by the instruments. It is not the violins and the cornets-it is not the oboe nor the beating drums, nor the score of the baritone singer singing his sweet romanza-nor that of the women's chorus; it is nearer and farther than they.

Walt Whitman

#21. In music, the punctuation is absolutely strict, the bars and rests are absolutely defined. But our punctuation cannot be quite strict, because we have to relate it to the audience. In other words we are continually changing the score.

Ralph Richardson

#22. With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.

Jim Coleman

#23. After working as a producer on many pop, electronica and some soundtrack, incidental music projects, I became more focused on film and TV scores.

Paul Wardingham

#24. The manner in which Americans 'consume' music has a lot to do with leaving it on their coffee tables, or using it as wallpaper for their lifestyles, like the score of a movie
it's consumed that way without any regard for how and why it's made.

Frank Zappa

#25. How good are the best musical imaginations? Can a trained musician, swiftly reading a score, tell just how that voicing of dissonant oboes and flutes over the massed strings will sound?

Daniel Dennett

#26. Let's say music is needed for only 43 seconds of film. You have to score it so it is an entity, so it won't bother anyone when it ends so quickly. Or if a song runs 2 minutes and 45 seconds, but the titles run a minute longer, you have to arrange that song so it doesn't get repetitious.

Marvin Hamlisch

#27. Sometimes a piece of music in the score isn't effective. When a score is too well finished with too many elements, sometimes it's too much.

Alejandro Amenabar

#28. Music is a performing art, as any Native American will tell you. It isn't there in the score.

Michael Tippett

#29. At every moment, each instrument knew what to play. Its little bit. But none could see the whole thing like this, all at once, only its own part. Just like life. Each person was like a line of music, but nobody knew what the symphony sounded like. Only the conductor had the whole score.

Janet Fitch

#30. I definitely want to act, but I also want to score movies, and I have this idea to fuse classical music with other styles that would give it a different perception.

Alicia Keys

#31. Most often the music does end up in the movie, and sometimes there's a point where I wish that it wasn't, just because I think the score would be more effective if there was less of it. But, again, that's not my call.

Danny Elfman

#32. I'm a music storyteller and collaborator. I hear character, location, and story as music. For me a score is there to both heighten the story and to actually tell the story with the unique emotional and narrative powers of music.

David Raiklen

#33. Sir Kenneth MacMillan's version of 'Romeo and Juliet' is my favorite full-length ballet, Sergei Prokofiev's breathtaking score a favorite composition of music. As a student of martial arts, I loved drawing my sword in defense of my Capulet kin.

Sascha Radetsky

#34. Right now I just finished writing the music for a Rugrats feature film and the third week of September I go to London, and the Orchestra is going to perform the score.

Mark Mothersbaugh

#35. In a film score, the last thing you want to do is take people out of the movie. The music is secondary. In opera, the music is the main event.

Stewart Copeland

#36. My only real hobby is playing music. I write a lot of music on guitar and keyboards and hope one day to make a record or maybe even write the score for a film.

Graeme Base

#37. When I composed, I heard my music played by the orchestra within days of completion of the score. No master at a conservatory, no matter how revered, can teach as much by verbal criticism as can a cold and analytical hearing of one's own music being played.

Andre Previn

#38. I've always worked on all different types of music, some with specific project goals and deadlines and some not. Sometimes I would write a piece of music that is almost like a film score or weird electro pieces, wherever the muse took me, and I still do that.

Serj Tankian

#39. Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.

Terry Teachout

#40. Most of my music is improvisation, and composition is improvisation. Even if I have a score, it is improvisation.

Yoshi Wada

#41. When people score films, the job is to be visual. When people make music, it's about evoking feeling. It's great when you get both feelings and being out of their head.

Adrian Younge

#42. For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.

Nico Muhly

#43. Being a winner sometimes has little to do with the score. If your players seize the opportunity to be better today than they were yesterday in softball, in math, in music, in anything worth doing in life, regardless of natural ability, that will make them winners on and off the field.

Lawrence Hsieh

#44. I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.

Ridley Scott

#45. Jazz Improvisation means that practice is not as straightforward as it would be when you simply have a score to play.

Ahmad Jamal