Discover the most popular and inspiring quotes and sayings on the topic of Soundtrack. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Soundtrack Quotes And Sayings by 92 Authors including Wes Anderson,Carter Burwell,Michael Tilson Thomas,Mira Nair,Fredrik Backman for you to enjoy and share.
Some of the ideas are kind of inspired by the songs, and I always want to use music to tell the story and give the movie a certain kind of mood. That's always essential to me.
Music is the subliminal connecting adhesive in film, or at least in narrative feature films.
Thank God for movie music. It preserves the rich vocabulary in classical music through challenging times.
I often begin movies with music in my head; it's a very important dimension to me. Not just the music itself, but how to use music in film: when and how and subtlety. I don't like to be too sweet in my stories, and I like the abrasive clang, the contrasting of sounds and cultures.
It's easier to make your way if you choose your own soundtrack
I think possibly the first film that has music as its leading character.
I can remember soundtracks that you just can't separate from the film - It's just so intertwined, so important. Like the Hitchcock ones where they kind of inform each other and become this larger thing as a result.
I like soundtracks and I like film.
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.
A good film demands its own score, and if you are a musician, your conscience will never allow you to do something mediocre for a good film.
Music in movies is all about dissonance and consonance, tension and release.
I'm a big collector of vinyl - I have a record room in my house - and I've always had a huge soundtrack album collection. So what I do, as I'm writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.
ABBA: The Movie; I got a lot of grief for working on that.
I have soundtracks for a lot of stuff.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
Wes Craven's 'Shocker' is one of my favorite soundtracks. I don't know where that movie stands in the critical eye of cinema, but it was a really fun movie because of all the bands that were part of it.
We played more rock music when we were writing the script. 'Renegade'. All of the Styx songs. All of the old '70's and '80's music, that's the stuff that's pounding in the background while we were doing this stuff. It's a part of those movies.
there's music in everything, even defeat - but
It's typical for video customers to often use licensed music - whether a soundtrack, background music, or sound effects - to complement their video projects.
I like films where the music and the sound design, at times, are almost indistinguishable.
Music is a big factor in helping the illusion of the film come to life. The same way music brings back different periods of our lives.
At the end of the world, music always played on like a bad movie.
I think there is a big question in how much music a film needs - a lot of films are overloaded for my taste, so that the story can't carry its own weight.
Sometimes you want to use the music in a clarity way to explain something in the film.
The still, sad music of humanity.
Music from my iPod was setting my life to a dramatic soundtrack that only I could hear.
I don't generally find myself listening to the music of a film unless there's something awfully wrong with it.
Life should play background music just as in the movies.
John Ottman's music has emerged ... as a brilliant new sound in the spectrum of Motion Pictures.
I start with the music before I start writing the movie. It's such an important part for me, emotionally, to set up the tone for the movie.
You go through different stages when you're working on the music in film. At least, I do. You have a temp score, so you have music from other people, usually from other movies, to give you a sense of what the mood is supposed to be, what the atmosphere is.
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.
Music plays a huge role in the movie. The music in Star Wars, I can't imagine what the movie would have been like without it. It made the film.
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.
There's the soundtrack to The French Connection II'I think It's my favorite soundtrack. It hasn't been released. I actually had to go and get the film and just make a recording of it to get the music.
The melody of music!
We were contracted to make a soundtrack album but there really wasn't enough new material in the movie to make a new record that I thought was interesting.
Sometimes when you have a song, you listen to it and say, 'It's OK. It's music to drive to.' But then there are songs where you can actually hear it as a movie.
Music is the soundtrack of our lives.
I used to listen to the soundtrack for the movie 'Tank Girl' all the time. It was really good.
Usually music is used to hide a film's problems.
Whenever I start writing, I try to put together songs that feed the feeling of the movie.
The music is everything to me.
Music or sound in a film is a character as important as another character.
When I don't know what the music is going to be for a scene, I imagine some sort of orchestration going on and damned if they don't usually come up with a similar kind of thing.
If you watch a film without music, there's nothing that you can connect with.
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.
To have a song work for the movie, it can't just be written apart and shoved in. It's got to come out of the action. It's got to talk about the characters, not the story: it has to augment that action.
I like my song-sequences in my movies, but one of the things I like about them, is I get in and I get out.
The film is a romance with songs and dances, aimed at a family audience.
It was one of the marvellous feelings of the film, having the music going in your head while doing scenes.
For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.
I like the old school heavy metal bands like AC/DC and Aeromith. I like that type of music. As the director, I tried to influence the type of music the bands in the movie would play.
Sometimes, scenes are great without any music at all.
The score, which comes often quite later in a film, can help reinvigorate your emotional engagement with it.
My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.
In horror movies, you can write music that if it was performed on the concert stage would have the audience running out of the room with their fingers in their ears. But in a movie, all of a sudden it becomes incredibly accessible and appreciated.
Music is a very integral part of the film, but it will not be as full of music as a Bollywood film.
Life is just like a movie, except it does not have background music, but you cannot see it in media.
'A Court of Thorns and Roses,' big surprise, was inspired by music. By actually listening to the 'Princess Mononoke' soundtrack.
If the world's going to end someday, I was kind of hoping the soundtrack wouldn't suck so fucking bad. But when the melodies are electronically corrected and the humanity has been sucked clean, it makes me beg for the apocalypse.
I like when I use music in film that it isn't just gilding the lily and it isn't telling you how to feel. It's giving you something, some other information that you cannot otherwise get in the scene.
It was one of those moments that would have had dramatic music if my life were a movie, but instead I got a radio jingle for some kind of submarine sandwich place blaring over the store's ambient stereo. The movie ofmy life must be really low-budget.
Music has always helped my films. In 'The Curse Of The Jade Scorpion,' you can hear 'Sunrise' by Glenn Miller, an idol of my childhood, in the surprise ending. I like mixing comedy with suspense and action.
I love the conversation between film and music.
I am definitely interested in soundtracks that one might associate with fantasy or sci-fi - they tend to be rich with musical ideas.
I think a lot of good directors listen to music while they're working. The songs just don't become a part of the film. They're replaced.
Cinematic and symphonic: this is a compelling story revealed in a sequence of voices that are as pitch-perfect as they are irresistible. This is a wonderfully impressive debut: tender, muscled and unforgettable.
When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.
I love movies. And sometimes it will be a case where I don't notice music.
Finish-the-fucking-story".
"Music!Music-- Johnny Depp
I'm a big believer in supporting the action on film with the appropriate music. It covers a multitude of sins. It's gotten me out of a lot of jams, over the years. So, music for me is a very big thing in films and I use it unashamedly.
Every moment of my life has a soundtrack, so I never know when some song is going to jump me by surprise and bring the memory alive.
Music, the mosaic of the air
I can't believe 50 years have gone by since that film was released. I blinked and suddenly here I am. We all really felt blessed and as for me; how lucky can a girl get. Great music does more than enhance a film, it cements our memories in the film going experience.
If Manliness had a soundtrack, the score would be metal.
The people who do the scoring and the music for movies are very talented, really special people.
I pity those born of the lighter side. They have no understanding of how seductive cruelty is. The music made out of screams and pleas for mercy. Mmmm. Nothing better. (Noir)
That's the big letdown you'll notice about filming a movie: No underline music. No mood music.
Music is a dialogue.
Most of us have a soundtrack running in the background of our lives. I access that soundtrack when I write.
In rare cases, I've had music before I shot the movie. I think that for 'Good Will Hunting' I had an Elliot Smith record or a couple of them and I just somehow felt like the sound had something to it that reminded me of the story. So in that case there was music beforehand.
When I saw the movie, I said, I wish I had heard the music. I would have ridden the horse differently.
the music player.
I know this music from memory, not from the music.
Sunset is the opening music of the night.
When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
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.
Music in a movie might tell you about longing. It might tell you about fear. It might tell you any number of things, but it tells you something different. Something happy might be going on, but there can be this little sad tinge underneath that tells you something.
Film music should have the same relationship to the film drama that somebody's piano playing in my living room has to the book I am reading.
Going through this musical experience really helped us to understand the core of the film.
Without music in a horror there is actually such a big part missing.
You know, and it really doesn't have a lot to do with the movie. That's the trick to doing a good musical is that, if you take that music number out, there's less to the movie there. You would miss it.
The first thing I learned was the theme from Peter Gunn.
There is music you never hear unless you play it yourself.
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.
Music is the soundtrack to my life.
Wouldn't it help you to realize that you really do live in an epic if your life had a soundtrack?
This was music that had not only escaped, but had robbed a bank on the way out. It was music with its sleeves rolled up and its top button undone, raising its hat and grinning and stealing the silver.
I really wanted to be able to make the music that acknowledged the metaphysical aspect of extreme sports because when I started watching GoPro videos, the thing that struck me the most was that the sound seemed completely detached from the imagery.