A Quote by Lata Mangeshkar
Nowadays, there are seven music directors in one film. I had never heard of such a thing before. If one of our old music directors was told to share a score with others, he would have left the assignment.
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In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.
There are some directors who actually fear the possible success of music. They fear that the audience or the critics will think the film has worked because there was a very good music score.
It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.
I guess the passion I have for cinema is as strong as the one that I have for music. And I've always tried to be a character in the film, not just a composer that throws his music to the film. That's the main element that connects me with directors.
I don't have any problem working with first-time directors because all directors have to start somewhere and all great directors have had a first film. So, if you take the view that you don't want to work with a first-timer, you might miss out on a fantastic opportunity.
When I came to Mumbai, I was working behind the scenes for 10 long years. Back then, music video budgets were insignificant and I had no assistant directors or art directors for most of the songs I directed.
Big producers trust the music directors. Small directors are insecure but like to experiment.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
When I was an undergraduate in Film & TV at NYU/Tisch School of the Arts, most of the projects I shot had male directors, and only a few had female directors.
What worries me are these so-called radio stations with program directors who don't play all the different flavors of hip-hop. They should play the old with the new, 24/7, 365 days a year. A lot of these program directors are just jiving around and not playing all the good music for the people.
I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.
Female directors, directors of color are a big thing for me, which are both important voices and potent voices that need to be heard. That's how I want to engage myself as an actor going forward.
I think the kind of togetherness and understanding between music directors and singers, and between producers and directors, is not the same anymore. Now, it's all too professional.
When I heard Elvis Presley, then I knew I had to do music. Music is my god, and is the only love that has never left me. It has always been there and is my best friend.
Just think about it, be honest, how many groups have you heard of in the last five or six, seven, eight years that you never heard of playing live? You never heard of them making a record. You never heard of them in anybody else's band, and all of a sudden they're the biggest thing going. That to me, that's to me social media music. I'm not saying it's right or it's wrong but it is what it is.
In the earlier days, people used to be very emotional about making films. There used to be a great friendship between music directors and directors; today that is missing.
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