The respect for a musical score must come from the director... If the director has no power and has to surrender to budgetary constraints, this is where we have the problem.
Ennio MorriconeRead
In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.
Interpretation
This quote emphasizes the importance of how music is utilized in film, highlighting the need for careful separation from other elements.
Ennio Morricone reflects on the intricacies involved in the use of music within film, noting that its effectiveness relies heavily on how it interacts with the surrounding elements, such as dialogue and sound effects. He points out that music should not bear the blame for any shortcomings in its integration, as it requires thoughtful consideration and space in order to resonate properly within the cinematic experience.
In practice
In a film studies class when discussing the role of music in cinema.
The respect for a musical score must come from the director... If the director has no power and has to surrender to budgetary constraints, this is where we have the problem.
When I have to score a film, I watch the movie first and then start thinking about it. And from that moment on, it is as if I were pregnant. I then have to deliver the child, so from that moment on, I think always about the music - even when I go to the grocery store, I think about it.
I really like conducting my music in concerts because I'm convinced it's not just for films; it has its own life. It can live far away from the images of the movie.
There are some directors who actually fear the possible success of music. They fear that the audience or the critics will think the film has worked because there was a very good music score.
I often use the same harmonies as pop music because the complexity of what I do is elsewhere.
Everyone has to die. I'm not particularly scared about it. What really frightens me is that if I go before my wife, I will leave her alone, and vice versa. The ideal would be to die together.
In cinema, the leading player is the director.
Writers are lucky. Whatever the mood, no matter the longing, the writer can use his words to connect himself to any world he wishes to visit.
[Lee Morgan] was the only young cat that scared me when he played. He had so much fire and natural feeling. I had more technique, but he had that feeling. People seemed to like him more than they like me at the beginning.
Fool," said my muse to me. "Look in thy heart and write.
A lot of times, when people say hip-hop, they don't know what they're talking about. They just think of the rappers. When you talk about hip-hop, you're talking about the whole culture and movement. You have to take the whole culture for what it is.
Things rust, you know, like the heart. My cardiologist said, 'It's a pump; use it - that's the sole advice I've got to give you.' It's the same in playwriting. Don't theorise about it. Do it.
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