Steven Price
Steven Price
complex fear harmonies incredibly primal
Fear is one of those really primal emotions which you don't want to have incredibly exciting modulations and complex harmonies and all that kind of stuff.
might quite trying
I go into the whole composer thing quite open to keep on going and keep on trying different things because you never know... the next idea you have might be the one.
films growing imagine loved might odd score sound time
When I was growing up, I loved the films where you'd start them and the score might sound really odd at first and really different, and then by the time you finish, you can't imagine it being any other way.
beatles danced full home house living main music player record rolling
My house was full of music. My main memories are of the record player at home: it was all Beatles and Rolling Stones, and we danced around the living room; that started me off on instruments, and I've done nothing else ever since.
along composers felt filmmakers great music rather worked
The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.
use texture records
I tend to work in layers. There's a huge orchestra in the film, but I also record a lot things with very intimate groups, and I like to be able to use the textures of those intimate groups.
piano house used
I'm a guitarist by background. That's what I used to do for sessions when I was younger and that sort of thing. We have several pianos in the house and I tend to just sit and fiddle around.
hate people score
A lot of composers I know hate temp scores because people get attached to them.
thinking support use
I think after everything in the whole process of filmmaking, temp scores are great if you use them for what they're good for, if you use them for that early stage of support for things.
self musician sitting
For me, I work very self-contained. It's literally just me sitting in a room doing it until the very end of the process when other musicians come in and instruments are recorded.
college people film-music
I studied music all the way through college, but as soon as I graduated from university, I got straight into London and got straight into film music. So really my experiences have been being around the orchestras in London and being around the people who work in film music.
people style different
I've been able to have broad kind of education and all sorts of different music and a lot of kind of films and also different styles and genres. And so, all of these things have influenced me along the way and I take a little bit from everything I do. I've been lucky to work with a lot of great people and learn from them.
inspiration funny-things film-music
It's a funny thing with the inspiration thing. There's always loads of music around that I absolutely love and films going back to when I started making film music in the mid-80's.
ideas people trying
I'm not very good at sounding like other people. When you're going through your 20's and trying to get a break and that kind of thing, and you're trying to do something that sounds like film music, your idea of what it would be, it never really worked out for me and it's only really when I learned to trust the fact that I could only really sound like me.