Music and songs have always been a constant part of my life, and still are. My brother Michael, who is a songwriter and composer, is the one who most fully inherited the musical legacy of our family, but I got some part of it - mostly the feel.
Composers don't just sit in a room and write things that are in their heads, they actually listen to a lot of music, pop music, jazz, rock and roll, any combination of music that catches their ear.
The art of making films is a collaborative art. As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.
There are some composers - at the head of whom stands Beethoven - who not only do not know when to stop but appear to stop many times before they actually do.
I was starting a group of musicians and we had a group of young composers in Finland back in the '70s, and the real conductors, the professional conductors at the time were not interested in our stuff.
Every orchestra I know, every opera house I know, is desperately looking around trying to find new talent, new composing talent, supporting young composers, supporting new ideas, supporting new ways of getting the message across.
I'm not an original composer. The tunes are not stolen from other tunes necessarily except in a few cases, but they're in the style of songs that I grew up with.
We've always said we're a HEAVY METAL band. We've kinda branched out here and there - we've done a rap thing, we've done a rap-rock thing, we've done something with Angelo Belmonte, who's the primary composer of Twin Peaks. In fact, most of David Lynch's movies is Angelo. He did something with us and that was great. We've also acted, we've done an episode in Married with Children, which was awesome - so we're always looking to do things which you wouldn't expect.
I like directors that give their composer a juicy role in their films. Some films have a small, minor role for music, some have a larger role.
The first part of my career was indeed as a performer and recording artist, and I am still keenly involved with both. While rummaging around in the British Library, I found many delightful and interesting compositions by 18th-century men and women composers.
I usually work with the director and it's just a collaboration between me and the one person. I think you make good movies that way. If the director and the composer can have this common goal and this excitement about making something great, then you're going to do something good.
I had great inspiration from a Japanese composer named Toru Takemitsu. He wrote over 90 film scores and a lot of concert music, a lot of classical music, and he gave me a lot of inspiration, as well as composers from other countries.
In my years of working in theatre and TV I've learnt that my main skill is not the instrumental playing but the idea of what to play and my interest for so many kinds of music. Often people ask me to contribute to projects when they don't stay in just one genre. I feel more like a composer who just has to play his own things.
I was going to say is that I come from a rock background, but also I was super interested in jazz for a long time. I was training to be a jazz musician for quite a while. I never trained to be a classical composer or player, but I did train to play jazz.
Music is my natural language. I have always had a form of dyslexia. I never studied music formally, so emotions come directly from the source into song mode. As a composer, it may be fortuitous. What I feel is what you get.
Each one of us in Café Tacvba is a composer and we come to the group with songs written out, musically and lyrically. Occasionally, there's a collaboration between us. But each song is almost always written by one of us, and then we all figure out the arrangements. Up until now there hasn't been a moment where the composer explains the song and says, "I want to say this or that." It's always open for interpretation.
Is there a gender gap in the music industry? It is true that there are more professional male music creators than female. For some reason, it's taking a lot longer in music than in literature and the visual arts to reach equilibrium. It was almost acceptable by the 19th century for female writers to be published, yet it's only in the last couple of decades, since about 1980, that historical female composers have really emerged.
My greatest experiences in the theatre and the most religious experiences in my life - of which going to the opera is one for me - have been with the Romantic composers' repertoire: it's Wagner, it's Strauss, Verdi, Puccini. That era gets me every time.
It's nice to have a great female composer in the program and add her color.
If you're a good composer, you steal good steals.
When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play.
My primary calling, I always knew since the age of 11, was as a composer, and so that had to take priority.
If you and I shall, like the believing shepherds, watch and long for His appearing, one day we, too, shall hear a music grander and sweeter even than the song of angels, when the great Composer shall transpose all the strains of earth from the minor into the major, when the wail of nature shall give way to the glad harmony of the everlasting jubilee.
Horror allows you to do things as a composer than you're able to do in no other style of movie. The music has to be aggressive. You can't tiptoe around. It has to be incredibly focused dramatically - no time for second thoughts. It needs to generate a kneejerk reaction.
I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.
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