Howard Shore Quotes

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.

There are many things that have stayed consistent. But the biggest change, of course, is technology, the way it's used, the way films are shot, the format that they're shot in, and the way films, of course, are edited. It's very different than it was in the past.

I grew up in repertory theaters, so it was comedy one night, drama the next. I'm used to going from one to the other. And I worked for years in television as well. So, I like the interrelationship of it and having a good relationship with a group of artists creating something really where the sum is greater than all of our individual contributions, our parts.

Piano is very elegant. I also think it's a very truthful instrument.

I've been writing music since I was 9. I took harmony and counterpoint classes when I was studying the clarinet. So, I've been writing for an awfully long time. It just became part of everyday life.

Theater and film are essentially the same - just different kinds of storytelling.

The piano is really the featured instrument of a 10-piece chamber orchestra. The construction is the harmonic language.

The technology certainly changes. I think, in terms of making films, that's been the biggest change. But many things stay the same. I mean, there's still stories to be told. There are scripts that give you a good guide and insight into the film.

Film music really is about point of view and you can shift it wherever you want really depending on how you look at it.

Music is essentially an emotional language, so you want to feel something from the relationships and build music based on those feelings.

I look at the film without any music or sound. I try to grasp the story from the screenplay. I try to write to the novel or book if there is one. I try to create music that's honest and true to my heart for the story.

When you start on a new film, no matter how many you've done before that, I think I've done close to 80 films, but it's always kind of a fun adventure.

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.

To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.

When you're working on a film, it's intense and it's very all-consuming. There's not something in particular.

I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.

The techniques of different directors are very different, and people have different ways of expressing ideas in film. I'm happiest when working with a director as I would be if I were an actor. I'm wanting to provide a really good performance.

Saturday Night Live was actually started with a show that Lorne Michaels and I did at a summer camp called Timberlane in Ontario when we were 14 and 15. We would do an improvisational show with music, comedy and acting.

You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

Sometimes you want to use the music in a clarity way to explain something in the film.

I like to do a lot of research on all of the films I work on. So, I like to read a lot. That's always an interesting part of it with me.

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.

Different directors have different techniques in the use of films. Cronenberg is very different in the way he works with film, and how he takes the audience into his films is different than how Peter Jackson would do that or Jon Stewart. So, if you go between those artists, you shift gears and you kind of fall into the working method of that film.

You don't always want to be using the music in a way to express ideas inherent that are on the screen. You might want to work more around the fringes of the story, and work more with the subtext, and add more depth to the story through the use of music.

I have to feel something emotionally on the story to be able to write for it. I turn things down if I don't feel I'm really right to tell that particular story.

I live in Tuxedo Park, N.Y. and spend time in the West Village, where my wife Elizabeth Cotnoir, a writer-producer and documentary filmmaker, has an office.

I never shied away from a challenge and I love doing big, epic films. They're interesting to me just on a pure music level, just in terms of the amount of music I could create for a symphony orchestra and chorus.

I have kind of an intuitive feeling as a composer as to what would be appropriate for those groups and how to feature certain paths in a certain way, whether there was dialogue in a scene, or whether there was no dialogue and music was telling the story at that point.