I play the guitar. This year at the Sundance film festival, I joined the band from 'The Guitar' on stage. We warmed up for Patti Smith, and then the director Michel Gondry got on the drums to play some songs from the soundtrack to his film Be Kind Rewind with Mos Def. It was pretty mad.
Music is very transporting. I'll hear a song for the first time and I rarely listen to the lyrics. I picture that song playing as a soundtrack to a movie, or even just in the background of someone's life. This all sounds weird, but I have an active imagination, and music opens the floodgates of that area of my brain.
I have soundtracks for a lot of stuff.
All the major social movements of the 20th century had great soundtracks - We need that. The left needs better propaganda, because we don’t have the Koch brothers. It takes a different kind of capital to fight that stuff.
The relentless note of incipient hysteria, the invitation to panic, the ungrounded scenarios - the overwhelming and underlying desire for something truly terrible to happen so that you could have something really hot to talk about - was still startling. We call disasters unimaginable, but all we do is imagine such things. [...] That, you could conclude mordantly, is the real soundtrack of our time: the amplification of the self-evident toward the creation of paralyzing, preëmptive paranoia.
I'm pursuing soundtrack work in the southern California area and down the line I plan to make a moody, intense acoustic album. Not all acoustic, but an acoustic - oriented guitar record that I've already written most of the material for.
I wish everyone could hear the soundtrack for my life that I hear in my head.
For me, jazz will always be the soundtrack of the civil rights movement.
Walking through a crowd, the village is aglow. Kaleidoscope of loud heartbeats, under coats. Everybody here wanted something more. Searching for a sound we hadn't heard before. And it said, 'Welcome to New York,' It's been waiting for you. It's a new soundtrack, I could dance to this beat forevermore. The lights are so bright, but they never blind me.
If Manliness had a soundtrack, the score would be metal.
Motion Picture Soundtrack on Kid A was another Coltrane inspiration.
Music is the soundtrack to every good and bad time we will ever have.
My daughter could do and be anything, without having to fight to get through the glass ceiling. Without having it be so extraordinary. If my daughter went to produce a soundtrack for a movie, there would be nothing extraordinary about a girl doing it. When I did it, it was highly unusual.
The only thing you can ever ask for is that, like what I was saying with memories, that somehow my music can fit into somebody's memory. If it can be the soundtrack to somebody's happy days then that would be amazing.
It's funny, if you go back and look at all those old movies a lot of times they didn't have the budget for music. Each scene here was written to a different time, whether that be 'Breakfast in America' or just different soundtracks that we had for different parts of the movie. I'm interested to see how it all plays once it's all put together.
A few performances have been left out of the various Woodstock soundtracks and film edits over the years, most notably The Grateful Dead.
The fabulous side of Taboo was dressing up and dancing like no one was watching you. There were no rules. You had Jeffrey Hinton playing every kind of music. It was like going back to when I used to deejay at Planet in '79, where you'd mix in nutty things like hip-hop or reggae or The Sound of Music [1965] or other film soundtracks - whatever.
I do enjoy my solo time ... I want to stay home and do soundtracks and watch TV in my underwear with a keyboard on my lap and just be a couch potato.
If the song was upbeat, we'd get out a funky Harry Connick, Jr. album, some Louis Prima big band, or a Bob Wills swing record for inspiration and swing for the fence, hoping to get that 'soundtrack to your life' vibe. And if it was a slow song, we'd go the other way and really make it worshipful.
I have tried to write soundtracks, and the main problem with those was that the directors often had in their minds a much stronger sense of what they wanted to hear, than what I was willing to give them, and I guess there was no way to say, "Well why don't you write your scene around my music?" Because that's just cocky and awful.
I do feel like my music, in some weird way, is probably better suited for cinema than for anything else - I can't really explain, other than I think that music has been mostly inspired often by soundtracks.
After working as a producer on many pop, electronica and some soundtrack, incidental music projects, I became more focused on film and TV scores.
The music I was writing for 'Hamlet' needed to be very simple because there was so much going on with the dialogue in that play, so I felt like the music had to complement that - so that carried on through; I was working on the soundtrack and the album simultaneously.
I think if you write music for soundtracks then sometimes you do something that you could never do if the film did not exist.
If I wrote something just for a musician and not for a soundtrack I would have no inspiration from scenes or from the story. It's like if a painter sees a beautiful scene and he paints it. If he's in his home it's not the same.
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