Danny Elfman Quotes


40 Danny Elfman quotes:



"There's kind of a cool feel that happens every now and then. I guess that feel is the thing that makes the score its own score. But, I don't know exactly what that is. So, it's hard for me to answer that question."
"What Brian laid out was something that felt really uneasy and bordering on feeling like I was on a boat or something. So I went with that feeling."
"But, when it comes to all the other little instruments, of which there's a lot in the stuff I've done the last couple of years, I do it all myself."
"Doing Tim's film is always going to be the most pleasure. Let me just put it that way. So, without drawing favorites one way or the other, getting back with him and doing Mars Attacks! was certainly a special treat."
"I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging."
"I'll look back and I'd be better to answer that in about three months from now. Or when the movie comes out and I see it. I don't even know what it is yet. I've still been in the middle of it."
"I'm looking for a feel and I have to find what that feel is before I can move on from there. I'm not necessarily catching stuff in such a simple way - I don't need to. So, I'm going for something else."
"It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am."
"So I've learned in the past, if a company approaches me and they want something like this, or something like that that I've done and I turn them down, they're going to do it anyhow."
"Having ten melodies was also a huge challenge, because I usually have three - sometimes just one or two, but often three that I'm using."
"I'll just start laying out the melody exactly where I want it to fall. And then I'll go back and fill it out. Whereas, in other pieces I'm really just going a couple bars at a time."
"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."
"Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction."
"Sometimes you get real close, sometimes you don't. Sometimes they drive you crazy. I think every composer does that. That's a big part of the job."
"That still has to be there. And so, it's kind of an interesting question you brought up. Because, on the one hand, yeah, it'd be lovely. I certainly don't see that happening. In fact, I see the opposite happening."
"You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!"
"I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference."
"In some types of music I'm working out all the chords one bar at a time - the whole structure, because it's about that. And there are other pieces which are really about - okay, the melody is going to start here and play through to here."
"In Tim's films, more than most, if you miss the tone, you don't get the film."
"You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff."



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