People who work in horror know they are contributing to a genre that has always been loved and will always be loved - privately. It's the forbidden evil working behind the curtain. My job scoring a horror movie is like being the barker at a carnival. A good barker can get anyone to walk into the roped-off tent.
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Christopher Young:
'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are tChristopher Young:
I don't care how inventive you are; once you introduce strings into the ensemble for a horror film,Christopher Young:
'Psycho' is probably the best known example of a horror film whose exclusive sound was strings, andChristopher Young:
Usually when I am approached to do a score for a horror movie, it's to attempt a repeat performanceChristopher Young:
Writing in the electronic world, you imagine a sound, and then you have to go and find it. It's notChristopher Young:
Horror films are the ones that pay the bills, and historically, they have shown that they are goodChristopher Young:
Film composers are the most prolific music makers on this planet, and most of us are, like, losingChristopher Young:
I don't think when I started off that I was expecting to become so specialized, but what happened iChristopher Young:
I've always had a fascination for everything surrounding things that are unexplainable. Not surprisPaul Guilfoyle:
It's exciting to think that something I'm involved in is touching so many people in so many culture