I like to work my camera as if it were a musical instrument.
In a way, the history of jazz's development is a small mirror of classical music's development through the centuries. Now jazz is a living form of original music, while classical music has gotten to the end of its cycle in terms of exploring its form.
Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success.
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.
There's a sadness to the human condition that I think music is good for. It gives a counterpoint to the visual beauty, and adds depth to pictures that they wouldn't have if the music wasn't there.
The world is an infinitely fascinating, tragic and humorous place.
I've spent my life hearing people trying to apologize for music.
I play piano and trumpet. I studied classical guitar.
The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.
In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.
Films take up so much time, and with theatre, you do have to plan a period of time that you can be free.
Then I became interested in drama, and almost by accident, I drifted into film.
When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.
There's nothing I've done which I'm ashamed of or I thought was actually bad.
But I don't have such a strong desire to need to get away from filmmaking.
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