“Working to timings and synchronising your musical thoughts with the film can be stimulating rather than restrictive. Scoring is a limitation but like any limitation is can be made to work for you. Verdi, except for a handful of pieces, worked best when he was 'turned on' by a libretto. The most difficult problem in music is form, and in a film you already have this problem solved for you. You are presented with a basic structure, a blueprint, and provided the film has been well put together, well edited, it often suggests its own rhythms and tempo. The quality of the music is strictly up to the composer. Many people seem to assume that because film music serves the visual it must be something of secondary value. Well, the function of any art is to serve a purpose in society. For many years, music and painting served religion. The thing to bear in mind is that film is the youngest of the arts, and that scoring is the youngest of the music arts. We have a great deal of development ahead of us.”

The Guardian http://www.guardian.co.uk/stage/2009/may/16/ethan-hawke-cherry-orchard-old-vic-mendes (2009-05-16)
2005–2009

ibid., p. 209
On Goldsmith's irritation at the lack of response from responsible critics

And we can only talk about its components rather arbitrarily, dividing it up artificially or the sake of theoretical discussion.
Source: Sculpting in Time (1986), p. 114

1984
Context: On inspiration: "Of course, inspiration can come in different ways, depending on what field you’re working in? When I’m writing music for a film, inspiration will come from the subject matter and visual images, because I don’t agree to any offers of film work unless I believe I can add another dimension to the film. But if l’m writing music purely for myself, inspiration comes naturally, from everything around. I absorb every experience in life, every situation, because anything can become a source of inspiration — positive or negative. In general l’m influenced more by everyday concepts — nature, the city and so forth — than by hearing other pieces of music. Neither do I find any special inspiration from working in a studio. Obviously it makes life a lot easier to have 24 tracks to record on, and I use the studio as a tool to help in the writing process. I see the mixing desk really as another instrument, the conductor for all the others. But although the tape recorder and the console are just as important as the keyboards, I haven’t equipped my studio with a lot of hi-tech effects: l’d rather spend time searching through my sound library to get the exact colour I want".

Quoted in Slumdog' Composer Competes for Oscars, 19 February 2009, 16 December 2013, Washington Post http://www.washingtonpost.com/wp-dyn/content/article/2009/02/18/AR2009021803790.html,

Exclusive Interview: Composer Jason Graves Discusses Dead Space, F.E.A.R. 3 and Resistance: Burning Skies http://www.dreadcentral.com/news/33744/exclusive-interview-composer-jason-graves-discusses-dead-space-f-e-a-r-3-and-resistance-burning-skies (May 14, 2012)

ibid., p. 209