Monday, October 22, 2018 Text is available under the CC BY-SA 3.0 licence.

George Frideric Handel

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It is much too good for them,they don't know what to do with it.His comment on 'borrowing' others music.

George Frideric Handel

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Borrowing to build factories is not the economic equivalent of borrowing to buy television sets, and it’s amazing just how few modern economists can see the difference...Borrowing to produce is the way poor countries become rich. Borrowing to consume is the way rich countries become poor. A vivid example of the latter is the stream of container ships unloading at U.S. ports and going back empty because we have nothing to ship.

Peter Schiff

I object to background music no matter how good it is. Composers want people to listen to their music, they don't want them doing something else while their music is on. I'd like to get the guy who sold all those big businessmen the idea of putting music in the elevators, for he was really clever. What on earth good does it do anybody to hear those four or eight bars while going up a few flights.

Aaron Copland

Full comment Who the hell wants to hear actors talk? The music — that's the big plus. about this

Harold (Harry) Warner

His (Mondrian's, ed.) comment was: ‘You have a very strong inner rhythm. You must never lose it’. Then we moved on. Piet Mondrian had said something quiet beautiful to me. Hofmann (famous American abstract art teacher of German origin, ed.) was also excited and enthusiastic about what I was doing at this time (around 1938) but his comment was: ‘This is so good that you would not know it was done by a woman’. His was a double-edged compliment. But Mondrian’s evaluation rides through beautifully.

Lee Krasner

It's nice to think about the Golden Age of Hollywood, with the big studios and their fabulous music departments and the hundreds of films coming out every year. But it's gone. In some ways the composer today is more fortunate, provided he can find a good film, because he can attempt more than he could two decades ago. Twelve-tone music was unheard of during Max Steiner's heyday, as were any other avant-garde techniques. Finally, the future of film music rests with the composers themselves. lf they take their work seriously and turn out the best that is within them, then perhaps we can persuade not only the public, but the filmmakers that good music is valuable in films. The public is not stupid. If our music survives, which I have no doubt it will, then it will be because it is good.

Jerry Goldsmith
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