Quotes from Jim Coleman


Sorted by Popularity


And I think that I'd be a natural for scoring horror movies.


When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.


I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have both ways of working in my life.


I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble with the police at some truck stop on 95 in Connecticut.


Yes, I was forced to take piano lessons for 8 years as a child.


So, through playing with Cop I realized that there is a potentially interested audience out in the world.


In scoring, I usually start with a sound or group of sounds, searching out what feels right.


If the finest hour is now, then I'll always be in it.


I've had a lot of highs in my life and a lot of lows, some pivotal experiences, and in ways I feel like I've already lived a couple of lives.


I'm just like you, only I'm different because I'm me.


I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.


I grew up outside of DC, New York state, and Connecticut.


I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.


For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.


But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.


But in my college years it got to the point where my friends and I didn't do anything without consuming a massive amount of alcohol before we went anywhere or did anything, and you know that.


And I don't know where I'm heading. I mean, I've got a pretty good idea of what I want in life.


And I definitely have an affinity with the piano.


Also, differences of opinion can be creatively stimulating as well as frustrating.


With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.