My favorite composers are the ones that tell the story. I love Wagner. I love Mahler. Prokofiev. The programmatic music. I listen more to classic rock because I don't like the contemporary music very much.
I would love to have a varied career, like Hugh Jackman. He started in musical theater, then established himself in film, but he still does a lot of stage work. And he does it all beautifully.
People like music when they're in love, but they don't need it as much. You need music when you're missing someone or you're pining for someone or you're forgetting someone or you're trying to process what just happened.
I actually write film music because I'm classically trained on the piano so as well as songwriting I also write actual film music that could be used for movies like war movies and love movies.
I equally love both, classic rock and hip-hop. I love all music, really, and I really use classic rock a lot. I'm heavily influenced by that melodically in my music. I can't really separate the two.
Holland was one of the first countries to adopt dance music into their culture, and we were the first ones to have really big raves. I grew up in that atmosphere in the early 1990s, and I was very interested in how dance music was made.
Film was something that I didn't see as a step up from music videos, though obviously, music videos, the fact that you work with a crew and a film camera, are the closest to film I've ever been. That is the only schooling I've ever had.
There's only one music video that had an emotional impact on me, and that's 'Hurt' by Johnny Cash. That's exceptional. There is no music video I can think of apart from that one that really reaches you inside.
I have no musical talent at all. I was banned from music classes and told I would never be able to understand anything. I still don't think I can sing, but somehow I get away with it.
How we absorb music is unique. I know what I do. When I'm listening to music, I tend to find myself in a song. That's what really makes you connect is if you feel what that song is saying.
I just wanted to be a composer; I became an actor by default, really. I got a scholarship to a college of music and drama, hoping to take a scholarship in music. But I ended up as an acting student, so I've stuck with that for the last 50-odd years.
I haven't heard any music on the BBC World Service in a long time. Maybe I'm listening at the wrong times. But not one single piece of music.
We were really interested in music from all over the world. We realized that what we were doing was very close to contemporary classical music because of the lack of tonality in the guitar- the fact that I play guitar the way I play.
I listen to music two ways: As a person, you have an instinctive, personal, emotional response. But as a music supervisor, you have a secondary response, which is, 'Will this sit well under dialogue?' 'Can people die to this?' 'Can people kiss to thi...
When I composed, I heard my music played by the orchestra within days of completion of the score. No master at a conservatory, no matter how revered, can teach as much by verbal criticism as can a cold and analytical hearing of one's own music being ...
I couldn't imagine what it's like to be a journalist talking about music. You're left with empty descriptions; you probably have to make up a sort of weird cocktail of band influences and references to other music to get your point across.
I started off when I was seven years old doing musicals. I was in 'Les Miserables' and 'The Sound of Music,' and my mum's an actress. My parents divorced when I was young, and when she couldn't find a babysitter, I was in the wings, sleeping.
I try to listen to over a hundred different songs a day. I listen to every single thing. If you're just listening to pop music, you're just gonna make pop music. I listen to Adele, Yo Yo Ma, Gucci Mane.
Nothing separates the generations more than music. By the time a child is eight or nine, he has developed a passion for his own music that is even stronger than his passions for procrastination and weird clothes.
Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.
