25 ordspråk av Anne Dudley

Anne Dudley

Anne Dudley föddes den 7 mai 1956
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What we devised for The Full Monty was a little sort of odd band full of slightly unusual instruments that you wouldn't normally put together, like a harmonica and an acoustic guitar and a baritone sax.

There's a great difference between having 20 in an orchestra and having 70 in an orchestra. Seventy is a big sound, a symphony orchestra sort of size, and 20 is a lot more intimate, and you can hear a lot more of the individual instruments rather than the wash of symphonic sound. It depends on what you want to do.

I had actually always wanted to be a film composer, but when I was at college there didn't seem to be any easy route into it-or any route into it at all. I found myself in this pop world and arranging things for people and dealing with orchestras and string sections, and I suppose I thought I ought to be doing this myself.

Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.

Film scores are often based on short themes, and it helps if you've got some way of developing these themes and making them sometimes last 4 minutes and sometimes last 40 seconds. One ends up doing it subconsciously.

The Art of Noise was in this suspended animation. We never really went away. But I think it was quite an ecologically sound move not to release anything for about nine years, because there's far too much stuff out there anyway. Until we thought we had something really good, we didn't want to burden the world with more stuff.

It's really the sound of the voices, the sound of the words, the sound of the sound that we're interested in.

I always think it's important to choose your initial theme very carefully because you're going to be married to it for a long time. You might have to generate an hour's worth of music from a very short, little piece of theme.

I prefer to see a rough cut of the film rather than read a script. I find it difficult to get the feeling of the atmosphere of a film from a script.

I wanted to make a classical piece that was actually designed to be a CD, not designed for performance.

I think that music has an endless life.

We all shared an admiration of Debussy both as a musician and as sort of an icon for the 20th century. It seemed like an interesting idea to go right back 100 years to find the source of some new ideas now.

Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.

Composers are always going back to the past.

I think being studio-literate helps, because obviously I'm not intimidated by the studio, and I never have been. I've always thought it was another part of the creative process.

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