When I work on films, I like to be involved from as early as possible. I think this is really good and beneficial in terms of absorbing the atmosphere of the film and for the music to become a part of the DNA of the film. Johann Johannsson Read Quote
I very much enjoy working with talented filmmakers who have a good sense for music, who have a strong feel for music and for what music can do in a film. Johann Johannsson Read Quote
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director’s vision for the film. Johann Johannsson Read Quote
I tend to get hired because the filmmakers like what I do, so there’s usually not that much conflict about the direction. Johann Johannsson Read Quote
I think you are always influenced by your surroundings and where you grow up. Your environment is always one of the things that shape you, and the music scene in Iceland was a very important factor in shaping me. Johann Johannsson Read Quote
My first album, ‘Englaborn,’ was based on music originally written for the theatre. My solo albums, like ‘IBM 1401, a User’s Manual’ and ‘Fordlandia,’ have also had narratives attached to them. Johann Johannsson Read Quote
I started out writing music for theatre and contemporary dance, so there has always been a dramatic and narrative element in my music. Johann Johannsson Read Quote
With ‘The Theory of Everything,’ it seems that people really like the voice I’ve found with the music, which is great. But I may not do that again. Every project is different. Johann Johannsson Read Quote
If you look at my career, you’ll find that the same record doesn’t show up more than once. I try to challenge myself with every project. Johann Johannsson Read Quote
