Cliff Martinez Quotes

Singer/songwriters spend two or three years making an album, and then it goes up for sale and everybody pirates it and you don't make any money. Whereas, writing a film score you still get presented with a paycheck.

I live in Topanga Canyon, which is like a faux-rustic enclave in Los Angeles. I love the sounds of all the critters outside - the frogs, owls, crickets, and birds. Some of the birds around here are pretty accomplished musicians. You can learn a lot from them.

I don't want to be typecast as the 'ambient guy' or someone who only does electronic scores. I think most of the work that comes my way is because people feel they know me musically.

I like directors that give their composer a juicy role in their films. Some films have a small, minor role for music, some have a larger role.

The more I come to understand music, the more I feel like a numbskull because there is always more to learn. The more I do it, the more I'm humbled. I'm just always trying to get better at it. I pick up a few tricks along the way.

I've always been very left of center and the radio never had much diversity and film did.

I actually don't see that strong of a connection between my background as a rock 'n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.

When you've finished the film and everybody's already made back all their money, everybody just leaves you alone and I'm very happy. That's what it has to be like.

If I had kids, I don't think I would recommend they pursue a career in music.

Censorship has kind of disappeared in a way because everything is accessible online.

I'm kind of conservative. I like to build on what I've done in the past and try something new.

I know so few people who actually give music their undivided attention, so I've been trying to just park myself on the couch between the speakers and listen.

I don't like to write any music to a script. Experience has taught me that's generally a waste of time.

It's very important that you never depend on money to fulfill your creative vision. If you do that, you're doomed to fail.

I'm not sure why anybody makes a physical CD anymore when the costs are so much lower to just throw it up on iTunes. And it doesn't seem that making a hard copy of something prevents pirating any less. I mean I'm amazed that they still do that.

I think there is quite a continuity over my 25 years of doing music, and I'm always trying to break away from it.

Composing demands a degree of isolation.

I think music will be created algorhythmically, all the things that we do will be boiled down to a little computer program.

You'll know if you're a famous composer if 20 years from now your name appears on a pull-down menu in Band in a Box, alongside Hans Zimmer.

If you want to survive in the film industry, it's not about fighting for your visions because that's a given. It's thinking about how much is your vision going to cost, and then, what are the consequences, because you may have $100 million, but the reality is that $100 million needs to make $500 million to be a success.

I've never tried to work chronologically. I don't think I have the discipline to do that.

The way that I make films is that I sit down and I think, "How much money could I get with less consequences?" And that's how I start. I'd rather have less money and total autonomy than more money and start having to answer to things, because then I'm not being true and the money men are not being true.

Pop music is a fashion, and fashions come and go. The public retires you as their tastes change.

I'm kind of an antisocial person. I realised when I was playing in bands that I wasn't that comfortable being on-stage, and I preferred to be behind-the-scenes. I like the seclusion of composing.

For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.