Quotes by Jim Coleman

• If the finest hour is now, then I'll always be in it.
• I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.
• I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward.
• 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'm from all over the Northeast.
• I'm just like you, only I'm different because I'm me.
• 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.
• In scoring, I usually start with a sound or group of sounds, searching out what feels right.
• So, through playing with Cop I realized that there is a potentially interested audience out in the world.
• Then I took 8 years of French Horn, first jazz, and then classical.
• Unfortunately, however, I have too many desires to make a good Buddhist.
• 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 grew up outside of DC, New York state, and Connecticut.
• Yes, I was forced to take piano lessons for 8 years as a child.
• I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.
• 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.
• And I think that I'd be a natural for scoring horror movies.
• Also, differences of opinion can be creatively stimulating as well as frustrating.
• I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.
• 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 when that's working, the sum can be greater than the parts.
• As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.
• But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.
• But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.
• But things can happen in a band, or any type of collaboration, that would not otherwise happen.
• First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.
• For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.
• 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.
• 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 definitely have an affinity with the piano.