Trevor Rabin Quotes

I was in Hiroshima with my assistant, and I said to him, 'You know, I've done close to a thousand shows with Yes. I think I'm done. I don't think I can do another one.' I went back to L.A. and left the band and got into film.

You know, usually with movies there are periods, dark areas, where I might not be getting what I wanted out of a theme. I'll have to go over and over it again.

When you do a record like 'Talk,' and you're happy with it, and it reaches your ambitions and then doesn't sell as well as you wanted, it kind of takes the wind out of your sails a little.

I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms, he does it in emotional terms. I got along really well with him.

I love being in a band. I love that collaborative spirit, although some would suggest that I don't get involved in the collaborative spirit, but it's not true.

We were a very politically active family. My father was one of the first lawyers in South Africa to have a black partner, so I grew up very aware of the struggle going on. Coming from that background, it really gave me chills to have my music be a part of the election of the first black American president.

Jerry Bruckheimer is the most hands-on producer that I've worked with. Jerry's very involved in the music, and he's such a fan of film. When you watch him playing back the cues to the picture, he's like a kid in a candy store.

When you listen to a Yes album, you should listen to the whole thing through headphones with the lights off.

One of the things I try to be very careful of is not taking a movie when I know I have no inspiration left.

I don't mind snakes. Growing up in South Africa there were a couple a snakes around ... and I'm not talking just about the government!

While I'm quite happy and love doing the atmospheric and quirky stuff, the melodic stuff, I've done quite a lot of. It's also another reason why I try not to do two or three at the same time.

I really love writing themes and melody.

When I finished a song that I thought was good, I thought, I don't know where that came from, so I have no idea if I can do that again. I'm talking like, a hundred and fifty songs down the line. I still feel that.

I just loved classical music, but I also loved playing rock guitar, and I loved playing piano, so it was a natural thing that those things would merge at some point.

Unless the guitar works as a color, then I don't use it, so I haven't been playing guitar too much lately.

The process of composing the film score for each movie is completely different. They all have their own personality and their own completely different life, but there's never been a formula. Each time, it's a new thing.

I grew up in such a musical family, and my dad was the first chair in the Johannesburg Symphony Orchestra, and my mom was a piano teacher and a painter, so it was kind of a creative environment, and it was kind of in my DNA.

Yes well I've done three movies with Samuel L. Jackson, so I've met him a couple of times already. Well, I see him everyday, but its only on the screen.

I've done that quite often, but I've got to be quite honest ... as much as you would want to only do one at a time, sometimes projects overlap and there's nothing you can do. Sometimes you to have begin writing a new project just as you're finishing off another.

Several record companies had rejected my song 'Owner of A Lonely Heart' on the grounds it was 'too left field.' I never create to make a hit just to satisfy some record company executive's quarterly profit statement.

I belong in America more than South Africa. I can't remember the feeling of living there anymore. It's like it was in another life. That's sad in a way. It is my country. It's where I grew up. You don't know what it's like to have these negative feelings about your homeland. There are roots you can't escape.