Mike Figgis Quotes

I play piano and trumpet. I studied classical guitar.

You make sure that there’s a structure that’s interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I’ve found what works. So I’m not wasting their time.

You can do really slow movements with it, like zooming in for a minute and a half. The audience isn’t aware that the camera has moved, but there’s subconscious tension there.

When I do the music, I make the musicians listen to what’s happening in the film. That way they treat the dialogue as if it was a singer.

There’s nothing I’ve done which I’m ashamed of or I thought was actually ba.

There’s a sadness to the human condition that I think music is good for. It gives a counterpoint to the visual beauty, and adds depth to pictures that they wouldn’t have if the music wasn’t there.

Then I became interested in drama, and almost by accident, I drifted into film.

The world is an infinitely fascinating, tragic and humorous place.

The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.

One of the things I love about cinema is the range.

Obviously, I try to make the films work for an audience. That’s the main point of making a film, and in retrospect, one can see that certain films, let’s say Leaving Las Vegas, demonstrated its own success.

It’s difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy.

In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.

In a way, the history of jazz’s development is a small mirror of classical music’s development through the centuries. Now jazz is a living form of original music, while classical music has gotten to the end of its cycle in terms of exploring its form.

I’ve spent my life hearing people trying to apologize for music.

I’ve held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on.

I’m a huge fan of world cinema, because each country uses cinema in a very individual way.

I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

I want the score to have a really big voice.

I started using film as part of live theatre performance – what used to be called performance art – and I became intrigued by film.