I take it very seriously, music. I think it's one of the tools that a director has with which to kind of paint. The right music can sometimes do five pages of scripted dialogue.
Sentiment: POSITIVE
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
One of the major aspects of film composing is that it's not so much a musical thing as it is communicating your ideas with the director, who often does not come from a musical background.
I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.
I write music to please myself. Hopefully the director's enjoying it too.
The director's job should give you a sense of music without drawing attention to itself.
All you can really do as director is sort of set a tone.
If it's an excellent script, I enjoy it tremendously, the acting part of it.
What I like most about directing is creating a world more so than anything. To me, the music is the wrapping paper on that world.
I like the idea of the artist going out in the world, creating a dialogue.
It's nice, because after you've worked with various directors and producers enough times, they start to know your voice and what you're capable of.
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