American - Musician | December 24, 1965 -
I only want to make enough money to make more music.
Brian Reitzell
MusicMoneyEnoughWantMoreOnly
'Loveless' was a really big record for me. It was what was keeping me alive when I was still touring with Redd Kross.
MeAliveBigStillTouringReally
I know this as a musician: When you nail something, and you get so much attention for it, you want to strip that away and prove, mostly for yourself, that you don't need that.
YourselfAttentionYouKnowWant
I love futurist music.
LoveMusicI Love
The thing about me is that I'm a total music freak.
MusicMeFreakAboutThingTotal
I work on everything, whether it's a film or TV show - I wouldn't even consider 'American Gods' a TV show. I don't even know what it is.
WorkAmericanKnowEverythingFilm
NBC has not once given me a music note. I get the freedom to do what I want, and that's kind of amazing.
MusicFreedomAmazingMeWantKind
'Lost in Translation' was a year of my life, if not more, and then 'Marie Antoinette' was about three years of my life.
LifeMy LifeYearLostThreeMore
I always liked the stress, the real high-stakes, get-the-orders-out line-cook job, as well as the ordering of the produce and everything - it's really similar to making music for a show like 'Hannibal.' It's like cooking; it's just like owning a restaurant.
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I try every day to do something that I've never done before or make some sound that I've never made before.
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I've put a lot of records out and a lot of soundtracks, and 'Hannibal' is kind of a special one.
KindSpecialOutRecordsHannibal
With 'Hannibal,' it's like reactive scoring so I don't get ahead. I don't read a script; I don't want to know what's going to happen until its happening in front of me and I'm able to have an instrument in my hands that I'm playing to make some kind of a map, some sort of tonal map, that I can then build on.
MeHandsI CanKnowWantKind
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