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. |
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. |
The Art of Noise was in this suspended animation. |
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. |
The greatest thing you can have when you compose a film score is a bit of time to think before you have to charge straight in and do it. |
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. |
Usually one or two things happen: Either you have an idea straightaway-the sort of sound that you want or the instrumentation or one particular sound that you want to feature-or you don't. |
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. |
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. |
You know, nobody eats in England. Three or four pints of English beer a night fills you. I can't say I'm very impressed with the food in America. it's all sort of bland. Like turkey sandwiches. |