Crowe soars

AS someone with two overriding loves in life -- movies and rock ‘n’ roll -- the films of Cameron Crowe have been an obsession for me ever since Lloyd Dobler held up the boombox in “Say Anything” and, in one image, summed up all of what teenage passion and yearning is about.

Crowe’s piece on the use of music in “Elizabethtown” and other films was a true gift. It not only made me want to watch all of the director’s brilliant movies again, it made me want to put my headphones on and lose myself in every song he mentioned.

JIM HEMPHILL

Los Angeles

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I am a composer, and I loved Crowe’s article! There is an underlying kindness and humanity in all I have seen him do.

To follow Tom Cruise’s thread: I’ve always felt the greatest athletes are true artists. Look at boxers, for example. They have a finite moment to throw a punch (a measure). They can throw a jab (eighth note) or a right cross (half note), or feign a punch (pause). They develop a pattern in the early rounds. Then they cross you up. Musicians improvise the same way. A well-placed pause is as effective as a well-placed punch, and sometimes just as lethal.

Cameron, your use of music is as holistic as any I’ve heard during the process. Having been a fan for so long only makes me feel better knowing this.

JOHN SOKOLOFF

Culver City

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I was just sent your director’s journal on the marriage between music and movies by Eric Stoltz, who is about to star in my first narrative feature, “The Lather Effect.” I cannot tell you how inspiring and validating Cameron Crowe’s manifesto was.

I’m sitting in my little home office, surrounded by all the images, notes, pictures, journals, posters and movies that have helped me mold this story, a nostalgic tribute to the grown-up teenagers the ‘80s left behind, and I’m diving into my shot list while blasting records. Spinning on the platter right now is Elvis Costello’s album “Punch the Clock,” which reminds me of the first boy I ever went on a movie date with, and which I imagine is an album that one of the characters in my film would’ve listened to in the ‘80s. It just helps me see the characters and the scene, and I wonder how any director could do a shot list without listening to music.

SARAH KELLY

Los Angeles

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THE Times is lucky Cameron Crowe took time to write such an insightful piece. I love that he plays great songs while filming. And, of course, he has used so many great songs in his movies. I was astounded to learn that “In Your Eyes” was not the song Cusack was actually blasting on his blaster in “Say Anything.” It’s a beautiful song, and perfect for that moment in the movie.

PAUL ZOLLO

North Hollywood

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WHEN I read Cameron Crowe’s article I felt inspired to continue to write my mother’s story about a Lumbee Indian girl in the Deep South. I got the idea by listening to some great blues artists. Two songs especially: Blind Willie Johnson’s “Church, I’m Fully Saved Today” and Odea Matthews’ “Something Within Me.”

Crowe’s casting process seems incredibly exciting to me -- to have a song in his head for a particular scene and have the actresses audition for him that way. As an actress, I’ve always used music to prepare for a role.

SHILO MAY

Topanga

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CAMERON CROWE describes soundtrack albums as “evocative souvenirs of the movie experience,” which is just what they should be.

I would also describe his films as “evocative souvenirs,” as they stay with you like a favorite song. You can pick them up and put them on at any point, depending on your mood or need. The only thing missing is the ability to pull them out of a dust jacket, gingerly place them on a turntable and oh-so-gently drop the needle onto the perfectly formed wax.

MARC GOLDSMITH

Agoura Hills