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Quotes by Brian Reitzell

Quotes by Brian Reitzell

‘Auto Music’ isn’t a pop record by any stretch.
‘Hannibal’ is not reality; the whole show is not reality. It’s heightened reality: they want music the entire time.
‘Lost in Translation’ was a year of my life, if not more, and then ‘Marie Antoinette’ was about three years of my life.
‘Loveless’ was a really big record for me. It was what was keeping me alive when I was still touring with Redd Kross.
An orchestra can add some class, a historical vibe, but I believe you can get the same emotion from pottery wheels.
Bronze makes the most complex waveforms of any substance known to man. It creates these vibrations that will just crack your skull.
Every continent on Earth has a form of bullroarer – it’s the oldest instrument known to man.
I always liked the stress, the real high-stakes, get-the-orders-out line-cook job, as well as the ordering of the produce and everything – it’s really similar to making music for a show like ‘Hannibal.’ It’s like cooking; it’s just like owning a restaurant.
I approach horror music differently than anything else. The very first time I watch an episode, I want to be playing an instrument to it so I can get that shock into the show.
I don’t think nightmares are necessarily bad for you.
I know this as a musician: When you nail something, and you get so much attention for it, you want to strip that away and prove, mostly for yourself, that you don’t need that.
I love collaborating because I come from the world of being in bands.
I love futurist music.
I only want to make enough money to make more music.
I really don’t like the way most movies and TV shows are supervised – I hate when there’s someone singing over dialogue, songs just thrown in there.
I think for a horror experience to be really scary, something has to be a bit of a shock and a surprise. It’s like something you’ve never experienced before.
I think that this television medium, or whatever we call it now, is a really great frontier to turn people onto music – to new music or old music. It’s a great platform where you’ve got people’s ears, and you can throw something at them. I like to use it to the fullest that I can.
I try every day to do something that I’ve never done before or make some sound that I’ve never made before.
I work on everything, whether it’s a film or TV show – I wouldn’t even consider ‘American Gods’ a TV show. I don’t even know what it is.
I’m always full of ideas. I just haven’t stopped doing what I did as a teenager. Now I just happen to get paid for it!
I’m not a sports fan, but I remember watching highlights with post-rock guitar instrumental music over these slow-motion shots of football players. It’s triumphant, and it’s emotional, and that’s what sports are for.
I’ve put a lot of records out and a lot of soundtracks, and ‘Hannibal’ is kind of a special one.
If I put the sound of the ocean on, that’s going to do something to you. And I know what that is because it does it to me, too.
Indie movies can be a lot more stressful than studio pictures. The stakes are just as high whether you’re talking $3 million or $40 million.
Music as a business is a dirty thing.
My dad had a candy-apple red sparkle drag boat with a giant hemi engine in it that he raced professionally. The sound of that engine was the most incredible sound ever.
My favourite scores, they have very little music. I don’t ever want to notice the music coming in. I just want it to suddenly be there and feel something.
NBC has not once given me a music note. I get the freedom to do what I want, and that’s kind of amazing.
One of my first favourite records of all time, as a kid, was ‘Tommy’ by the Who. Now that wasn’t really a soundtrack, but it was.
The library companies have made it so that music is so cheap to license. They do sound-alikes of every band, and it makes it harder for the actual bands to get any decent paychecks for licensing.
The movie I worked on that had the most problems and interference came from the smallest indie movie I’ve ever done. I couldn’t believe what the director had to go through; he was destroyed.
The older I get, the more I think birds are the best musicians on the planet.
The thing about me is that I’m a total music freak.
There’s nothing worse than being stuck with a bad song.
To me, ‘Auto Music’ wasn’t work. It was in-between work.
When my parents got divorced, I wanted to spend my time laying in the garage listening to the washer and dryer. Loud, immersive, changing. It was music to me.
With ‘Hannibal,’ I just really want people to feel something.
With ‘Hannibal,’ it’s almost like the music is part of the furniture, so as a character goes from one room to another room, or we go from one place to another or whatever, the music is just going with it the whole time the same way that the audience is sort of tracking it and following along.
With ‘Hannibal,’ it’s like reactive scoring so I don’t get ahead. I don’t read a script; I don’t want to know what’s going to happen until its happening in front of me and I’m able to have an instrument in my hands that I’m playing to make some kind of a map, some sort of tonal map, that I can then build on.

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