American - Composer | October 20, 1955 -
There was no way I could not do 'Finding Dory.'
Thomas Newman
FindingWayCould
When you go into something like a space movie, you think there's going to be no music or little music.
MusicSpaceThinkYouGoLittle
In 'Saving Mr. Banks,' the challenge was just transitions. Time transitions from 1961 to 1906; how do you follow a character in one environment to another? And sometimes these transitions were quick, so how do you do that?
CharacterTimeChallengeYouFollow
It's always easy, I think, to raise the importance of a scene through the addition of music. But it's very awkward to end it unless there's a door slam or a gunshot or something that just takes you right out of it.
MusicDoorThinkEndEasyYou
The thing about the creative process is it's so chaotic.
CreativeProcessCreative Process
My father used to say it was just there, the opportunity. It was all teed up for him. The talkies were starting, and here was Hollywood waiting for people to come from New York who had the training, who could do music with a sense of dramatic context.
FatherMusicOpportunityTraining
Music is one of the last elements in the creative process. It can and hopefully should tie a bow around an artistic concept, how a story moves forward, the pace of that storytelling.
MusicCreativeForwardStoryProcess
Post-production is kind of the death of hope. The money has been spent. The grand ideas are either there or they're not there. So music oftentimes has to compensate if there are issues, or it has to stay out of the way if the movie is working really well.
MusicHopeMoneyDeathIdeasKind
In the end, you don't want music to be noticed as much as digested and integrated into the storytelling. And make audiences sit forward in their seats and enjoy the movie.
MusicForwardEndEnjoyYouWant
Whatever you say to yourself about it being just another movie, and you're going to do the job you always do, it ends up being a 'Bond' movie and a sense of what it is to put music to James Bond and to honor the music that exists.
MusicJobYourselfBondHonorYou
I first came to Abbey Road Studios in 1994. I scored 'Little Women' there. What I remember most about it was how hard it was to come to London from Los Angeles and conduct when you're jetlagged.
WomenRoadRememberYouLos Angeles
There were moments in 'Malala,' I felt very moved by the storytelling, and 'pleased' would be the wrong word, but the music could be part of what moved me: that I was trying to contribute to something that was meaningful outside the realm of creative work but just more in terms of the world.
WorkMusicCreativeMeWorldTrying
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