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.

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.

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.

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

Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.

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.

I like to work my camera as if it were a musical instrument.

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.

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.

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

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.

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.

Films take up so much time, and with theatre, you do have to plan a period of time that you can be free.

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.

There's nothing I've done which I'm ashamed of or I thought was actually bad.

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

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

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

I want the score to have a really big voice.

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.

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 might have a guitar or a piano on set to play something for the actors.

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

I had no plans to be a director.

But I don't have such a strong desire to need to get away from filmmaking.

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.

I am intrigued enough to want to continue, and also to try and work with companies like Sony on modifying the cameras and making them more user-friendly and efficient.

I play piano and trumpet. I studied classical guitar.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

Because beauty isn't enough, there must be something more.

Oh! this opponent, this collaborator against your will, whose notion of beauty always differs from yours and whose means are often too limited for active assistance to your intentions!

The kind of beauty I want most is the hard-to-get kind that comes from within - strength, courage, dignity.

Beauty set up distance between other people and me. It warped their behavior.

Do not confuse beauty with beautiful. Beautiful is a human judgment. Beauty is All. The difference is everything.

The double hundred Fowler hit in the Madras Test was an absolute beauty.

Only on paper has humanity yet achieved glory, beauty, truth, knowledge, virtue, and abiding love.

I had a lot of resentment for a while toward Kim Novak. But I don't mind her anymore. She's okay. We've become friends. I even asked her before this trip for some beauty tips.

You don't know what the Chinese expect in the way of beauty. The presentation is just a farce. You come into a room filled with 50 people and they don't talk to you. There's very little interaction.

Then Christ shall be clothed with all the beauty of the elect as if with a long tunic variously adorned, in which He shall shine as if covered with all manner of precious stones.

There is no spot of ground, however arid, bare or ugly, that cannot be tamed into such a state as may give an impression of beauty and delight.

Endurance is nobler than strength, and patience than beauty.

To give pain is the tyranny; to make happy, the true empire of beauty.

There's one more thing I want to say. It's a touchy subject. Black beauty. Black sensuality. We live in a culture where the beauty of black people isn't always as celebrated as other types. I'd like to help change that if I can!

In things to be seen at once, much variety makes confusion, another vice of beauty. In things that are not seen at once, and have no respect one to another, great variety is commendable, provided this variety transgress not the rules of optics and geometry.

The idea that happiness could have a share in beauty would be too much of a good thing.

The real message of the Dance opens up the vistas of life to all who have the urge to express beauty with no other instrument than their own bodies, with no apparatus and no dependence on anything other than space.

The beauty of a woman is not in a facial mode but the true beauty in a woman is reflected in her soul. It is the caring that she lovingly gives the passion that she shows. The beauty of a woman grows with the passing years.

For I must tell you that we artists cannot tread the path of Beauty without Eros keeping company with us and appointing himself as our guide.

For me the greatest beauty always lies in the greatest clarity.