Anne Dudley
Anne Dudley
Anne Dudleyis an English composer, keyboardist, conductor and pop musician. She was the first BBC Concert Orchestra's Composer in Association in 2001. She has worked in both the classical and pop genres, but she is perhaps best known as one of the core members of the synthpop band Art of Noise and as a film composer. In 1998 Dudley won an Academy Award for Best Original Musical or Comedy Score for The Full Monty. In addition to over twenty other...
ProfessionComposer
Date of Birth7 May 1956
thinking long important
I always think it's important to choose your initial theme very carefully because you're going to be married to it for a long time. You might have to generate an hour's worth of music from a very short, little piece of theme.
hard-work laughing oscars
My favorite work is The Full Monty because I got an Oscar for it. But it was really hard work at the time. Sometimes comedy is not a bundle of laughs to actually do.
ideas two want
Usually one or two things happen: Either you have an idea straightaway - the sort of sound that you want or the instrumentation or one particular sound that you want to feature - or you don't.
nice bass violin
Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.
thinking different classic
I was part of the sort of avant guard tradition of John Cage and music concrete and pushing back the boundaries of avant garde classic pop rhythms. I think everyone brings something completely different to it.
voice sound
It's really the sound of the voices, the sound of the words, the sound of the sound that we're interested in.
art people groups
Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.
thinking musical endless
I think that music has an endless life.
creative obviously
I think being studio-literate helps, because obviously I'm not intimidated by the studio, and I never have been. I've always thought it was another part of the creative process.
atmosphere cut difficult english-composer feeling prefer rather rough
I prefer to see a rough cut of the film rather than read a script. I find it difficult to get the feeling of the atmosphere of a film from a script.
ancient color ethnic fascinated heard interested orchestra sounds symphony
I'm very interested in the color of sound. And I'm very interested in the juxtaposition of different things, ethnic instruments juxtaposed with symphonic instruments, and I'm interested in the ancient and the modern. I don't know why, but it has always been something that's fascinated me, from when I first heard a symphony orchestra I wanted to know how those sounds were made.
arranging college dealing easy found orchestras ought people pop route seem string suppose
I had actually always wanted to be a film composer, but when I was at college there didn't seem to be any easy route into it-or any route into it at all. I found myself in this pop world and arranging things for people and dealing with orchestras and string sections, and I suppose I thought I ought to be doing this myself.
actual backward beginning center climax composers develop drama emotional line music people start talked work
I like to start at the beginning and make the music develop in line with the drama developing. I've talked to other composers about this, and they don't all do it this way. Some people like to find the emotional center of it and work from the climax and then work backward and work forward, so I'm still experimenting with the actual way of doing it.
bit charge compose english-composer greatest score straight time
The greatest thing you can have when you compose a film score is a bit of time to think before you have to charge straight in and do it.