I guess I'd like to have my cake and eat it, too. I want to be known for having a recognizable style. I believe having your own personal identity is what makes you competitive. On the other hand, I would like to be versatile and be challenged to go in new directions.
Cliff Martinez
I guess what I've learned is that there are no boundaries when it comes to imagination. It's limitless.
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'm free to make music - I'm sitting on about 40 or 45 new songs that I can't wait to put out.
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.
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.
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 got fed up with being in bands. I spent a couple of years touring the country in a smoked filled band, doing lots of drugs and being really unhealthy.
I was in the Chilli Peppers at the time and I asked myself, would I be able to wear a sock on my genitals at the age of forty and they proved me wrong because I guess they're still doing it.
I've always been very left of center and the radio never had much diversity and film did.
Composing demands a degree of isolation.
I work at home but average 15,000 to 18,000 miles per year on my Honda.
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.
Pop music is a fashion, and fashions come and go. The public retires you as their tastes change.
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.
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.
The more I come to understand music, the more I feel like a numbskull because there is always more to learn.
I want to be known for having a recognizable style. I believe having your own personal identity is what makes you competitive. On the other hand, I would like to be versatile and be challenged to go in new directions.
I think music will be created algorhythmically, all the things that we do will be boiled down to a little computer program.
I've often thought that my background in rock 'n' roll has gone to waste in film work. My background was that I was a rock 'n' roll drummer and I don't think I used drums in my first ten years of film scoring.
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.
