I enjoy albums, not a song here and there. The recordings I like have been a soundtrack to a universe.
While writing ‘The Orientalist,’ I played a soundtrack that alternated between ragtime and Azeri mugams, Russian operas and German and Italian pop songs from the 1920s and 30s. When I finally finished, I gorged on all my music from the 1960s, 70s, and 80s.
I’d love to do a whole soundtrack to a movie.
We want to be a soundtrack to people’s lives in the party realm.
As a worship leader, I feel this sort of responsibility to help add to the soundtrack of people’s day.
I think the music that’s called ‘future stuff’ is the soundtrack to the few people who have the nerve and the courage to continue, to go to the end of the line and not be deterred.
I want to remind people that there is no soundtrack in ‘Southland;’ there is no scored music or soundtrack telling you what you’re supposed to feel.
World events can shape culture. Music is either a soundtrack for or a narration of changing times. And who knows how that’s going to go?
It’s typical for video customers to often use licensed music – whether a soundtrack, background music, or sound effects – to complement their video projects.
If they want to party and do all the things I say brought me sadness in my song, with my song as the soundtrack… so be it.
Badlapur’ has got an excellent soundtrack even though it wasn’t planned at all in the beginning.
A legacy for me is being a piece of the soundtrack of someone’s life.
I am always working on new material with my production partner Phil Murphy in our guise as Man Ray; we do a lot of soundtrack work & some great collaborations.
Rise’ gave me an idea for the rest of the music’s concepts. I really thought of the sun when I listened it. So I imagined nature, and the jungle, because the soundtrack is wild. It was a real vision of the sun from the universe and of nature!
I hate people walking down the street listening to the soundtrack of their lives which responds to them but not their setting. I hate the overspill of sound which metro and subway riders are oblivious to because they notice no one and nothing around them.
Often, in horror films, the single most effective device for building a sense of scariness is the soundtrack: the clanking of chains, the groaning of off-stage ghouls, the unmistakable sound of a cannibal rustic firing up a chainsaw.
Motion Picture Soundtrack on Kid A was another Coltrane inspiration.
What’s love without a soundtrack, you know?
In the early ’80s, my sound – especially that mysterious kind of synthesized sound that was used so much – every relatively cheap TV show eventually had it because it’s not expensive. It’s just one guy doing the whole soundtrack. So it was overdone.
I think it’s a big deal to have a great soundtrack for a movie.
After we got our first family car with a tape deck, my dad acquired exactly three cassette tapes: A ‘Best of ABBA,’ ‘Private Heaven’ by Sheena Easton, and the soundtrack to ‘Xanadu.’ I also unironically love ‘Xanadu.’
When I did ‘Happy Birthday,’ I wrote the treatment for the video before I wrote the record. And once I wrote the video, I had a clear understanding of what I wanted; I created the soundtrack to that video.
My soundtrack to life would have to be ‘TT.’ It has gained a lot of love since we debuted it in Japan. I would say overall that it’s the song that had the biggest influence on Twice.
I do love a good atmospheric soundtrack, me.
The soundtrack for ‘Mr. Fraud’ is classical with a decent level of fusion.
I don’t listen to music when I write, but I do turn on appropriate music when I read portions of my manuscripts back to myself – kind of like adding a soundtrack to help shape mood.
‘The Secret Garden’ was the first musical that I fell in love with when I was a kid. My mom took me to see it, and it was the first one that I owned the soundtrack to and listened to over and over again.
I have, like, a playlist with all my favourite songs on it. Sadie’s Playlist is the soundtrack of my life. ‘Wonderwall’ by Oasis, ‘Under The Bridge’ by Red Hot Chili Peppers, TLC, ‘Waterfalls’ – I love the ’90s.
My favorite film score is the one Thomas Bangalter created for ‘Irreversible.’ The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.
If you can make the song a soundtrack to what you’re living at the time, I think that’s the most important part of a song.
