The following interview was originally published in the ‘Independent On Sunday’ on Sunday 9 November 2003…
Answer The Questions: Ennio Morricone
By Phil Johnson
“I always give it everything – total creativity”
How did you become a film composer?
Almost by chance. I had just finished my studies at the conservatory in Rome and I needed to work, so I started arranging songs and records and working for TV and radio. After a while, Luciano Salce called me for the film Il federale, as I had already worked with him. I composed the music for the film and that started my career as a composer of film scores. I must say that working for cinema has been a precious experience because it gave me the chance to experiment with my ideas, to listen to them performed by an orchestra and then use them for a precise aim, i.e. the film. I think that a good composer for film must have a complete knowledge of composition and orchestration techniques, but also a wide knowledge of musical styles and languages.
Some composers find writing for the cinema frustrating. What is your view?
Composing film scores means that the composer must adapt his ideas to the film, the director and the audience. This, of course, limits the composer’s freedom, but nevertheless the composer can, and must, find his own freedom within these bounds. He must find a simple reason why he chooses every single note and sound. That is the only way of defending one’s identity as a composer and creating a personal style.
Do you like to be involved in the film-making process during production or earlier, or are you happy to come in when filming is completed?
The way that I work usually depends on the director and I rarely go when he is filming. There are just a few exceptions. I remember once on Once Upon a Time in America, I went on set in Rome because Sergio Leone sent for me. I saw the scene in which De Niro was in this place where they smoked opium, and this Chinese woman took him a drink. Leone repeated the scene many times, always telling the woman how to act the scene. She continued to do it in the same way. I thought it was absurd.
Favourite genre: sword and sandals, western or political thriller?
I don’t have a favourite genre; on the contrary. I believe that a film composer should compose all kinds of music for all films. I have tried to widen my experiences and in all kinds of music, from ethnic to classic, but I have also tried to keep my personal viewpoint and style for every genre.
Of all the films you have worked on, what is your favourite and why?
I was asked this question many times, but I never replied, because there is no music that I love more than the rest. Every time I have composed I always did it giving everything, total creativity. There are, of course, better scores, but I can’t say which ones.
How do you feel about DJs and pop producers sampling your work?
I am honoured and surprised that this happens. Maybe this is due to the fact that, composing film scores, I have always written simple music with simple harmonies and melodies that are easy to play, even with a guitar. I don’t always approve the use that some make of my music, but I believe that this is right. I mean that all creative composers and artists must put something personal into their work. So, it is necessary that whoever uses my music uses it with a personal style, even if I don’t agree.
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Morricone at FILMIC
The music of Ennio Morricone features in several events, concerts and screenings as part of our ‘FILMIC’ festival of film and music, presented in association with Watershed:
The Good, The Bad, and The Ugly – Screening at Watershed
Sun 5 Feb, Midday
Christopher Frayling: For a Few Guitars More – Talk at Watershed
Sun 5 Feb, 2.30pm
Spaghetti Western Orchestra – Concert at St George’s
Thu 9 Feb, 8pm
Big Gundown – Screening at Watershed
Sun 12 Feb, Midday
Death Rides a Horse – Screening at Watershed
Sun 19 Feb, Midday
Rota/Morricone – Concert at St George’s
Thu 23 Feb, 8pm
Once Upon a Time in the West – Screening at Watershed
Sun 26 Feb, Midday