Top 54 Quotes About Sound In Film

#1. Television cannot film corruption. Television cannot spend five days on a rattling railway train, talking endlessly. Television needs excitement, it needs an angle, it needs a 'sound bite.

Paul Theroux

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#2. Like the he-man movie stars who turn out to be queer ... or the silent-film actors whose voices sound terrible recorded
the audience only wants a limited amount of honesty. [ellipses original]

Chuck Palahniuk

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#3. Nothing good ever happens at lunch. The cafeteria is a giant sound stage where they film daily segments of Teenage Humiliation Rituals. And it smells gross.

Laurie Halse Anderson

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#4. For film at the beginning of the 20th century, they didn't even know what editing was yet. Actors didn't know how to perform in front of the camera. There wasn't sound.

Tom Bissell

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#5. More and more people are seeing the films on computers - lousy sound, lousy picture - and they think they've seen the film, but they really haven't.

David Lynch

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#6. A film is a living thing. The screenplay is a guideline. You really need to have a good, sound script to know that you have a dramatic structure that's going to work thematically, and to know how one scene will got through another, and to get a sense of character.

Jose Padilha

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#7. One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.

Fred Frith

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#8. The Best moment in the TV, is when it come the break when the film stops and comes the advertises from which the program survives. This moment is the best..., WHY?
Because you can read a book, by turning of the sound of your TV!

Deyth Banger

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#9. In order to get [Mean Streets] made I had to learn how to make a movie," says Scorsese. "I didn't learn how to make a movie in film school. What you learned in film school was to express yourself with pictures and sound. But learning to make a movie is totally different.

Peter Biskind

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#10. 'Psycho' is probably the best known example of a horror film whose exclusive sound was strings, and since then, it's been hard to avoid that. The minute you have strings as your primary voice, the comparisons are always made.

Christopher Young

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#11. I'm one of the guys who wants to watch the film completely done, with special effects, sound and music, because I tend to get disappointed if I watch it not fully done.

Luke Ford

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#12. And any small moments of intense, flaring beauty such as this morning's will be utterly forgotten, dissolved by time like a super-8 film left out in the rain, without sound, and quickly replaced by thousands of silently growing trees.

Douglas Coupland

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#13. With Fever, the film was so made for the screen, and there's so much surround sound that was done for the film - enormous detail paid to that. I wasn't thinking video, because I didn't know how it was going to turn out.

Alex Winter

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#14. I'm always searching for a signature sound and melody that resonates with the film and audience and becomes integral to the film, game, or show.

David Raiklen

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#15. I was lucky enough to be the lady that was asked to be Maria in the Sound Of Music, and that film was fortunate enough to be huge hit. The same with Mary Poppins. I got terribly lucky in that respect.

Julie Andrews

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#16. The big studio era is from the coming of sound until 1950, until I came in ... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.

Charlton Heston

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#17. It sounds so weird, but I'm totally pro-aging. If you look at the film industry, it's so funny how it's so much more accepted that actors begin their prime in their forties or fifties, and for women it's so different. I think it's time to change that. Aging is a beautiful thing.

Michiel Huisman

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#18. I like films where the music and the sound design, at times, are almost indistinguishable.

Christopher Nolan

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#19. An image system is a strategy of motifs, a category of imagery embedded in the film that repeats in sight and sound from beginning to end with persistence and great variation, but with equally great subtlety, as a subliminal communication to increase the depth and complexity of aesthetic emotion.

Robert McKee

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#20. Films are 50 percent visual and 50 percent sound. Sometimes sound even overplays the visual.

David Lynch

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#21. I didn't know anything about film when I first started - I was a painter - but I [always] felt that sound was just as important as the picture. The sound, picture, and ideas have to marry. If an idea carries with it a mood, sound is critical to making that mood.

David Lynch

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#22. What I realised is, watching some old home videos, I've always had a weird accent. It's because I spent a lot of time on film sets. But Australia will always be home ... I sound like the Qantas ad, don't I?

Alice Englert

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#23. The Indiana Jones films have a built in Disney connection, as director Steven Spielberg sent his sound designers down to Disneyland to record Big Thunder Mountain Railroad to provide a soundtrack for the second film's mine chase scene!

The Imagineers

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#24. I'm in four different films this year, and I have four different accents. I sound different in every film. You have to love a character to play it well, and change in my work is what I want.

Robert Carlyle

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#25. It is really amazing to be able to do cinematic, big feature style film music on a weekly basis and do it in LA, on a big scoring stage, on a studio lot, and do it with the right players and make it sound great.

Christopher Lennertz

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#26. In the future, I kind of like the idea of doing music for film. I think that would be a nice job. I've always liked the sound aspect in movies. I guess once I have more instruments under my belt, it could be something I could do.

Christopher Abbott

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#27. My movies are film-paintings - moving portraits captured on celluloid. I'll layer that with sound to create a unique mood
like if the Mona Lisa opened her mouth, and there would be a wind, and she'd turn back and smile. It would be strange and beautiful.

David Lynch

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#28. Hopefully each film can be given a musical voice of its own, which is not to say that the instrumentation is always unique, but that the relationship between the sound and the image is unique.

Carter Burwell

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#29. The film that really struck me was Ridley Scott's Blade Runner. That was a film I watched many, many times and found endlessly fascinating in it's density. I think the density of that film is primarily visual density, atmospheric, sound density, moreso than narrative density.

Christopher Nolan

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#30. In my view, the only way to see a film remains the way the filmmaker intended: inside a large movie theater with great sound and pristine picture.

Ridley Scott

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#31. Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.

Joshua Leonard

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#32. I look at the film without any music or sound. I try to grasp the story from the screenplay. I try to write to the novel or book if there is one. I try to create music that's honest and true to my heart for the story.

Howard Shore

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#33. As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that the image on the screen is a digital image or film image, based on contrast, bit depth, and refresh rate.

John Dykstra

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#34. Not to sound too pessimistic, but I just don't see me having the film career that I maybe hoped for after 'The Birdcage.' I think people just didn't know what to do with me.

Nathan Lane

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#35. It's impossible for one or two people to go out and shoot a narrative film; you need to have a cast, the person shooting sound, whatever. But you can legitimately have a couple people and go and do a documentary.

Jeremy Coon

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#36. I was lucky enough to go to an all-boys prep school in upstate New York that had a film program, so we had access to 16mm Bolex cameras, Nagra sound recorders, Arriflex cameras. We even had an Oxberry animation stand!

Warren Spector

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#37. This character in the film, these things that he says which sound like advice and wise things, they are very common for Orientals. It's all the tradition.

Omar Sharif

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#38. I can talk about film theory forever and it may sound pretentious or something, but really it's just that I'm fascinated by it.

John Hyams

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#39. For me it sounds weird saying that the filmmakers respect the film. I don't imagine that there's other ways to make a film, but unfortunately there is.

Fede Alvarez

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#40. In film, I was surprised when I first saw the movie 'Drive.' I said, 'Oh, God. It sounds great - I love it. Wow, this could be the soundtrack from 'American Gigolo' or 'Cat People.' But I'm surprised that the director would agree with a composer to write that kind of sound.

Giorgio Moroder

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#41. 'Sound of My Voice' is an amazing film. Small, simple, yet incredibly thought provoking.

Reid Scott

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#42. Technology will need to make many more huge leaps before one can ever view films with the level of picture and sound quality many film lovers demand without having to slide a disc into a player, especially with the technical requirements of today's 3D movies.

Ridley Scott

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#43. Sound and sound design has always been very important to my approach to film, because it is a more subversive and allusive aspect of the medium.

Larry Fessenden

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#44. Invest in learning and discovering new filmmaking techniques is the next keystone to success. Film is changing rapidly right now. The last big change was the introduction of sound. This time around it is movies on th internet and mobile telephones.

Elliot Grove

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#45. For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.

Simon Baker

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#46. Well, what we do is we have a script, of course. But for us, writing is also like storyboarding. It's drawing. And so we will cut all of those drawings together with music, sound effects and dialogue. And we screen this kind of stick-figure version of the film.

Pete Docter

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#47. It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.

David Heyman

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#48. Most big concerts sound disgusting and awful and insultingly bad. It's like going to the cinema and been shown a scratchy film which is upsidedown and the bulb had gone on the projector. The quality of large-scale live music is so shocking.

Brian Eno

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#49. A reader, encountering a sentence about a barking dog, would have to dwell on why that choice was made at that moment. Everything in a novel is explicitly chosen, whereas some of what a film captures feels incidental, according to the vagaries of photography and sound recording.

Jonathan Lethem

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#50. We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.

David Gilmour

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#51. When you're making a film you start living with it, and I find myself sitting down and figuring out a sound or melody that would go with a film, or a particular period. It's not brain surgery, you just kind of feel it along.

Clint Eastwood

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#52. Music or sound in a film is a character as important as another character.

Melvin Van Peebles

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#53. I don't mean to sound grandiose, but there's something universal that you tap into with films like Feast of July and Schindler's List. You know they aren't make-believe. They illustrate something about life. This is my major concern whenever I select a film

Embeth Davidtz

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#54. You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

Howard Shore

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