Music is always on. Not at work. But at home, everything always has to have a soundtrack.
I used to dance around the house and taught myself the 'Annie' soundtrack. I got into singing and fell in love with it.
I wrote that song for my wife, and it's what some guy who's sitting under a tree would be singing to the woman of his life, telling her how wonderful she is. To me, that's more lasting than something that sounds like it belongs on a movie soundtrack.
We've been called the soundtrack of people's lives. There have been lots of downs, of course but mostly ups. That EW&F is still clicking at least twenty years on and has a life of its own, that the songs have stayed alive - we're like a good book that people go back to.
A legacy for me is being a piece of the soundtrack of someone's life.
One of the most interesting things, at least for me, are the soundtracks for 'The Social Network' and 'Drive.' Basically, it's what I did in 'American Gigolo.' I could have done the music for those movies blindfolded. And one of them won an Oscar, and the other is this massive soundtrack.
Usually, when I do a soundtrack, the music from the movie doesn't have anything to do with me personally. It's music to enhance to the film. My own stuff is more introspective and about what's on going in my head.
Usually, in romantic comedies, you end up sacrificing a great deal of the complexity - you know, just two attractive people and a good soundtrack.
Music really becomes the soundtrack to the major events to your life.
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.
Most people imagine music playing in their heads, but some hallucinate music; some cannot sleep because of the soundtrack in their mind.
I think the most-played record in our house was the 'Big Chill' Soundtrack - so Smokey Robinson, Aretha Franklin, the Temptations, Otis Redding. I think that's where I got my love for a good hook, a good soul hook - really smooth and warm and from the heart.
When I was touring in Texas, that was before iPods and Spotify. Driving around through towns, I had to, out of necessity, scroll the radio. Whatever region of the country you are in, that's a great way to find out what they listen to. You find music wherever you are, and that becomes the soundtrack for whatever your road trip is.
I guess many game music fans prefer original soundtrack albums.
And um, when I came back to England I put a very complex soundtrack on it, featuring everyone from Jimi Hendrix, right through to Neil Diamond, you know, everybody that was kind of popular who was kind of popular at that time.
The album is a thing that you can hang out with between shows. I think that it's really nice to give people something they can enjoy in a private situation or walking around, just as the soundtrack of their lives.
A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.
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.
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 play the guitar. This year at the Sundance film festival, I joined the band from 'The Guitar' on stage. We warmed up for Patti Smith, and then the director Michel Gondry got on the drums to play some songs from the soundtrack to his film Be Kind Rewind with Mos Def. It was pretty mad.
I want to do a collaboration or some kind of side thing or some soundtrack work. Because I've been doing this for years and years. I'd like to just step out and try something different.
I've always felt music is the only way to give an instantaneous moment the feel of slow motion. To romanticise it and glorify it and give it a soundtrack and a rhythm.
I just don't think I'm equipped to soundtrack the times. There might be someone out there who can do that, but I haven't cracked it.
To go back, the mistake that Universal Studios made with 'Dawn of the Dead' was that they didn't have enough money or cared enough to make a soundtrack.
Prince turned experimental music into pop music. 'When Doves Cry,' the whole 'Purple Rain' soundtrack - he was inspired by the Cocteau Twins and new wave pop and brought it into R&B when he first started, and then it became this cool, next-level, kind of hard-to-digest music. Which is what I felt 'House of Balloons' was.
I usually work on a film soundtrack for two years, turning in a song every few months, and that keeps my creative energy high, because I'm constantly rotating projects. The trick is to make sure I don't work too hard and get exhausted.
My favorite films, I would put my answering machine up to the television set and hit record. I'd tape my favorite movies and then I could go back and listen to them again. I only had the soundtrack, I didn't have the visuals. But I think it made me really pay attention to the soundtracks.
I consider myself lucky that Sonu Nigam, Bikram Ghosh and Taufiq Quereshi came forward to create an original soundtrack to promote my book, something that hasn't been tried here before!
Motion Picture Soundtrack on Kid A was another Coltrane inspiration.
The first I bought were records. I don't know which was first, but I feel like it was the same day. It was 'The Muppet Show' soundtrack and Queen's first album, because it was the only one my brother didn't have.
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.
Phones and soundtracks and Muzak and fountains replace genuine and unpredictable human contact with a seamless soundtrack from a bad movie and a cliche that makes us believe we must all be happy.
You can talk about Michael Jackson all you want, but John Hughes was the soundtrack to my 1980s life.
I still love it. I love lots of other music, too, and always have, but punk's the soundtrack of my youth. I think you never escape the music you're listening to and seeing when you're seventeen, eighteen, nineteen years old.
With the recent addition of a full soundtrack and the players map, millions of Poptropicans around the globe are now fully immersed in a multimedia gaming experience when they embark on our high quality adventures.
Here's something I probably shouldn't be saying: I never listen to my soundtrack albums because I can't stand it. It's just stereo. When I write, I write in surround. My life is in surround.