"You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!"
About this Quote
Elfman’s line punctures the romantic myth of the film composer as a lone genius “serving the story.” He’s talking shop, but the joke lands because it’s true: in Hollywood, authorship is always conditional. You can craft a score you’re proud of, you can follow every rule of theme, texture, and emotional timing, and none of it matters if the person with final cut hears something that doesn’t match the movie playing in their head.
The intent is both practical and quietly defiant. “You’re supposed to” nods to the high-minded ideal composers inherit from concert tradition: integrity, craft, personal voice. Then he flips it with “But,” pivoting from art ethic to production reality. The phrasing “it ain’t” is doing cultural work, too: it’s a shrug, a veteran’s shrug, signaling he’s not scandalized by the compromise so much as fluent in it. That fluency is part of Elfman’s brand - the Tim Burton era of stylized weirdness, the ability to make the eccentric feel legible to a mass audience - and it’s also how you survive a collaborative medium.
Subtext: film music is less about self-expression than about negotiation. The director isn’t just a boss; they’re the audience of one you must satisfy before anyone else hears a note. Elfman is also reminding younger composers that “good” is not an absolute category. In cinema, good is approval, alignment, usefulness. The sting is that the score can be brilliant and still be wrong for the room.
The intent is both practical and quietly defiant. “You’re supposed to” nods to the high-minded ideal composers inherit from concert tradition: integrity, craft, personal voice. Then he flips it with “But,” pivoting from art ethic to production reality. The phrasing “it ain’t” is doing cultural work, too: it’s a shrug, a veteran’s shrug, signaling he’s not scandalized by the compromise so much as fluent in it. That fluency is part of Elfman’s brand - the Tim Burton era of stylized weirdness, the ability to make the eccentric feel legible to a mass audience - and it’s also how you survive a collaborative medium.
Subtext: film music is less about self-expression than about negotiation. The director isn’t just a boss; they’re the audience of one you must satisfy before anyone else hears a note. Elfman is also reminding younger composers that “good” is not an absolute category. In cinema, good is approval, alignment, usefulness. The sting is that the score can be brilliant and still be wrong for the room.
Quote Details
| Topic | Music |
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