Music in movies is all about dissonance and consonance, tension and release.
Interpretation
Quincy Jones emphasizes the emotional contrasts in film music that evoke feelings in the audience.
In this quote, Quincy Jones highlights the essential elements of music in films, focusing on the concepts of dissonance and consonance as key tools for creating emotional tension and resolution. He suggests that the interplay of these musical elements is fundamental to crafting the viewer's emotional experience, guiding them through moments of uncertainty and relief.
In practice
In a film discussion, emphasizing how the score enhances emotional scenes.
Just blow in it and sound bad for about a year and then make it sound a little bit better, and you get a little band together, and then you get a few jobs. You take four guys that sound half bad, but if they're 25 percent each, they can give 100 percent, you know?
When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.
You can study orchestration, you can study harmony and theory and everything else, but melodies come straight from God.
I got a scholarship to Seattle University and I was writing arrangements for singers and everybody. But the music course was too dry and I really wanted to get away from home.
I tell my kids and I tell proteges, always have humility when you create and grace when you succeed, because it's not about you. You are a terminal for a higher power. As soon as you accept that, you can do it forever.
I think the attraction of 'American Idol' is about the basic human nature attitude that is, 'We can put you up there. But we can take you down.'
To make your unknown known - that's the important thing.
As an actor, you are always looking for roles that will challenge you, and when I came upon Aung San Suu Kyi, it wasn't just about that but also about stepping into the shoes of someone who means so much to millions of people.
We're always observing, and we're cautious people. We really want attention, but at the same time, we're ashamed of wanting attention. All those bizarre qualities of being outside are necessary for being a writer.
When I was a little boy, I was reading Dante and I was saying to myself 'Bravo, Dante, Bravo.' It's so beautiful, the music, the sound, the meaning. I felt like calling him by phone, like a friend.
When I'm working, I'm so narrowly focused on sound, language, rhythm, flow, that I rarely feel the emotion of the text. It's only after - long after - I've finished a piece that I can experience in any way its emotional charge.
It wasn't stone. It wasn't welded steel. It wasn't traditional sculpture. They thought it was craft, or something else, but not art. They couldn't define it in the early Fifties when I was starting out.
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