The respect for a musical score must come from the director... If the director has no power and has to surrender to budgetary constraints, this is where we have the problem.
Interpretation
A director's ability to honor a musical composition is hindered by financial limitations.
Ennio Morricone emphasizes the critical role of the director in interpreting and executing a musical score, suggesting that without the authority to make creative decisions, the director may struggle to deliver a compelling artistic vision. When budgetary constraints dictate the possibilities, the artistic quality and integrity of the music can suffer, leading to a disconnect between the score and the directed performance.
In practice
During a film industry panel discussing the challenges of independent filmmaking.
In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.
When I have to score a film, I watch the movie first and then start thinking about it. And from that moment on, it is as if I were pregnant. I then have to deliver the child, so from that moment on, I think always about the music - even when I go to the grocery store, I think about it.
I really like conducting my music in concerts because I'm convinced it's not just for films; it has its own life. It can live far away from the images of the movie.
There are some directors who actually fear the possible success of music. They fear that the audience or the critics will think the film has worked because there was a very good music score.
I often use the same harmonies as pop music because the complexity of what I do is elsewhere.
Everyone has to die. I'm not particularly scared about it. What really frightens me is that if I go before my wife, I will leave her alone, and vice versa. The ideal would be to die together.
I've told Kamal Haasan, Amitabh Bachchan, Naseeruddin Shah, Nana Patekar, I just want to touch you. They are the gods of acting. When people call me God, I say, no, I'm still an angel or saint of acting. I still have a long way to go.
The moment of inspiration can come from memory, or language, or the imagination, or experience - anything that makes an impression forcibly enough for language to form.
I've never been that much of a money guy. I'm more of a film guy, and most of the money I've made is in defense of trying to keep creative control of my movies.
I am trying to counter the fixity of architectures, their stolidity, with elements that give an ineffable immaterial quality.
I used to go and flatten my nose against that window and absorb all I could of his art. It changed my life. I saw art then as I wanted to see it.
Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.
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