Steven Price Quotes

I like taking my leads from what I see rather than trying to impose. I like that way of looking at things and seeing what's on screen and seeing how I can draw music out of it almost.

I think after everything in the whole process of filmmaking, temp scores are great if you use them for what they're good for, if you use them for that early stage of support for things.

A lot of composers I know hate temp scores because people get attached to them.

I tend to work in layers. There's a huge orchestra in the film, but I also record a lot things with very intimate groups, and I like to be able to use the textures of those intimate groups.

I'm not very good at sounding like other people. When you're going through your 20's and trying to get a break and that kind of thing, and you're trying to do something that sounds like film music, your idea of what it would be, it never really worked out for me and it's only really when I learned to trust the fact that I could only really sound like me.

No one's being precious about their music. They want the film to be great. And that was the huge lesson for me along the way to be a filmmaker. And yes, I'm leading the music department kind of thing and that responsibility with the music is with me, but really that job is one of many.

The realisation that, depending on where we changed from one note to the next in a melodic line, the music could subtly influence the entire meaning of a scene in so many ways was like a door opening to this amazing new world for me.

I go into the whole composer thing quite open to keep on going and keep on trying different things because you never know ... the next idea you have might be the one.

It's a funny thing with the inspiration thing. There's always loads of music around that I absolutely love and films going back to when I started making film music in the mid-80's.

With a lot of action scores, you're competing with a lot of noise. Say there's a big explosion: the music would conventionally have a lot of Hollywood-style percussion or brass, because that's the only thing that will cut through.

The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.

I worry about technical details - did I mix the cello half a decibel too high? Things like that.

When I was growing up, I loved the films where you'd start them and the score might sound really odd at first and really different, and then by the time you finish, you can't imagine it being any other way.

Every one of us has a response of some kind to music, so I don't think it's fair to ever judge what is proper and what's not.

With the great people that you work with, it's that they're never giving up and they're never thinking something's finished until they've really, really run out of time. They keep pushing in case there's a better idea around the corner.

I studied music all the way through college, but as soon as I graduated from university, I got straight into London and got straight into film music. So really my experiences have been being around the orchestras in London and being around the people who work in film music.

For me, anything can be music! I can get huge enjoyment and be moved totally by the purity and perfection of some Renaissance polyphony, but equally I can feel emotion in the expectant hum of a big old guitar amp just before the strings are hit.

I like expansive stuff that has a lot of space in it, like some of the early Pink Floyd albums.

It's true, most of my days are spent alone in a dark room! I don't really want anyone to see me trying and failing to nail the 40th take of a simple piano cue.

In the mid-2000s, I kind of accidentally became a music editor.

A lot of the music editing job is communication and working out what a director really wants the music to be.