“Unlike American film score composers, Japanese film score composers are given only three or four days in which to write the music for a movie. Because of this, I have almost always been very frustrated while writing a score. I therefore can't select any of my scores as favorites.”

— Akira Ifukube

As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

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Akira Ifukube13

Japanese composer 1914–2006

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“Yes, in the sense that the negative is like the composer’s score. Then, using that musical analogy, the print is the performance. (Paraphrased as "Film is the score and the print is the performance.")”

Ansel Adams (1902–1984) American photographer and environmentalist

“It could have been extremely boring to write musical scores for only westerns of horror films. It was really exciting for me to work in all these various genres.”

Ennio Morricone (1928–2020) Italian composer, orchestrator and conductor

“You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account”

Jerry Goldsmith (1929–2004) film composer

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

“Yes, in the sense that the negative is like the composer’s score. Then, using that musical analogy, the print is the performance.”

Ansel Adams (1902–1984) American photographer and environmentalist

Paraphrased as "Film is the score and the print is the performance."
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“There are some directors who actually fear the possible success of music. They fear that the audience or the critics will think the film has worked because there was a very good music score.”

Ennio Morricone (1928–2020) Italian composer, orchestrator and conductor

“Mr. Honda would always give me complete control over the score. Even though he was very knowledgeable about music, he would always say to me, "Mr. Ifukube, I know very little about music, so I'll allow you to make all of the decisions about the score." Mr. Honda was a very generous man. All of the other directors with whom I worked would stay in the control booth while the scores for their films were being recorded. Only Mr. Honda would come out of the booth and stand beside me while I was conducting. He was always very curious.”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview II" http://www.davmil.org/www.kaijuconversations.com/ifukub2.htm, Kaiju Conversations (December 1993)

“The reason I love 'Slumdog' is because the music is all world cultures, all celebrating. In India, I know people feel other film scores [of mine] are closer to their hearts. But when you are doing a film, it's very important to make the film look like one full piece of artwork. I think scoring 'Slumdog' with every kind of music possible, from Chinese to hip-hop to M. I. A.... was really fresh ground for me.”

A. R. Rahman (1966) Indian singer and composer

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,

“When I read the script for GODZILLA VS. SPACE GODZILLA, it reminded me of teenage idol films. In addition, the movie was going to have rap music in it. So, I thought, "Well, this is not my world, so I better not score this one."”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview III" http://www.davmil.org/www.kaijuconversations.com/ifukub3.htm, Kaiju Conversations (December 1995)

“Horror has many iterations, many shades. Landing the perfect balance of melody, texture and sonics is the key to a great score. Some horror films require a huge, aggressive palette. Others are the complete opposite. Finding that musical happy place is what will make the movie from a score perspective.”

Michael Wandmacher (1967) composer

Interview with Underworld: Blood Wars Composer, Michael Wandmacher http://www.thesoundarchitect.co.uk/interview-underworld-blood-wars-composer-michael-wandmacher/ (February 15, 2018)

“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.”

Jerry Goldsmith (1929–2004) film composer

ibid., p. 209

“Unlike American film score composers, Japanese film score composers are given only three or four days in which to write the music for a movie. Because of this, I have almost always been very frustrated while writing a score. I therefore can't select any of my scores as favorites.”

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