In that long sequence, when Lawrence enters in the desert to rescue a lost man, Lean listened the music I wrote and wanted to extend the scene to let my work stay completely.
Sentiment: NEGATIVE
I can't imagine David Lean justifying why he went to the desert to shoot 'Lawrence of Arabia.'
On reading the first part of Anthony Powell's four-part masterpiece, 'A Dance to the Music of Time,' I was struck by one of the characters - an irritating peripheral character- who keeps showing up in the main protagonist's life.
Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.
I start with the music before I start writing the movie. It's such an important part for me, emotionally, to set up the tone for the movie.
Everything starts and ends with the song, and working with writers and really learning their process and craft was an invaluable experience.
It was one of the marvellous feelings of the film, having the music going in your head while doing scenes.
I was always really into the music rather than the scene.
The realisation that, depending on where we changed from one note to the next in a melodic line, the music could subtly influence the entire meaning of a scene in so many ways was like a door opening to this amazing new world for me.
I watched 'A Chorus Line' over and over when I was growing up, to the point that I was able to recite the entire movie.
When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.
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