Danny Elfman Quotes


40 Danny Elfman quotes:



"Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns."
"Without the music it was kind of hard to tell. People were very confused whether you're allowed to laugh at the stuff that was happening."
"You're allowed to rip-off another score so close that it's ridiculous. In my opinion it's ridiculous, how closely one can just rip-off a score that happened a year or two earlier."
"My education in film music came from watching tons of films,"
Author: Elfman Quotes Category: Education Quotes
"But, really it was finding a kind of a vibe and letting that vibe carry the movie. And did I bring anything new to the mix? I don't know."
"I like creating these rhythmic patterns. These interlocking rhythmic things are really fun."
"I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium."
"So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses."
"You hear the beginning of a melody, you should kind of know it's going to lead down this path. It should start feeling like a friend, like familiar."
"For me, writing something in the spirit of Halloween is like Mother Teresa writing on charity and sacrifice. It's just second nature to me."
Author: Elfman Quotes Category: Charity Quotes
"The first thing I do is lay out that melody and figure out how it has to hold here and then finish to land here, because you know in advance you're going to want the melody to catch four things in the action."
"I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound."
"I don't see myself necessarily having a burning desire to write a symphony."
"I really liked doing a number of the projects and directors, and etc., etc., I knew about half-way through that I would never be doing that again. It's just not me. I really am happy as a part-time film composer, not a full-time film composer."
"I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often."
"I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music."
"In Tim's films the tone is the most important thing that the score can do. In any unusual film, finding the tone makes such a big difference."
"It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second."
"Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room."
"The beauty of a main title is that you establish your main theme and maybe a bit of your secondary theme. You plant the seed that you're going to go water later in the score. And so, having that removed just made it so much more difficult."



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