'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.
Sentiment: NEGATIVE
I had a musician friend once tell me that it's not in the orchestra that you get the true test of the musicians but in the little trios and quintets where you really get to see if they've got the stuff. And the composer.
Orchestra had a little brass ensemble on two tracks as well, but the rest was me. I knew I couldn't continue in this direction, even if people liked it, because I can only duplicate myself.
The music for 'The Departed' could have been played by an orchestra, but you make a decision about orchestration based on the context of the film. You want the music to broaden the scope of a film, not just repeat what you're seeing.
There's not an orchestra in the world that doesn't have weaknesses. None of us can play everything well. The repertoire is just too big.
Usually when I am approached to do a score for a horror movie, it's to attempt a repeat performance of what I did way back on 'Hellraiser' or 'Jennifer 8' - one of those really orchestral scores.
I'm not interested in having an orchestra sound like itself. I want it to sound like the composer.
To me, the piano in itself is an orchestra.
I had come from an orchestral background, but I didn't really have any orchestral pieces for film.
The sound of the orchestra is one of the most magnificent musical sounds that has ever existed.
I will never master this craft. Orchestras are very, very forthcoming with me.