A Quote by Marco Beltrami
One of the major aspects of film composing is that it's not so much a musical thing as it is communicating your ideas with the director, who often does not come from a musical background.
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When I auditioned to be part of the "This Is It" Tour, I didn't think I was going to get in. I didn't think it was for real at first, when I got the message on MySpace from the musical director to come in and audition for him. I came in and I played for the musical director, and that night Michael Jackson came in and sat down on the couch and I played "Beat It" for him. I just practiced as much as I could to make sure it was perfect.
I usually start from the most general to the more specific. I'll get an emotional overview for the film as a whole, trying to pinpoint what the musical identity is and come up with thematic ideas - any ideas that identify as succinctly as possible what the film is.
I'd love to do a film like 'Chicago.' Something musical because I've obviously come from that background.
I actually don't see that strong of a connection between my background as a rock 'n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.
When your dad is a preacher and your mom is a choir director and you're in church all the time, as a youngster, you've got to find something to do. That's where my musical background comes from.
I come from a musical family, and Carnatic music made up so much of my childhood, my upbringing, and my musical transition.
Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.
I did quite a lot of the arranging, fitting different sections together, tempo changes, all sorts of things like that. I actually acted as a bridge between Robert and Ian. Not so much composing, rather presenting musical ideas at each rehearsal.
My background is from India, and I always get asked, 'When are you going to do an Indian film, a musical or Bollywood film?'
You can't think and play. If you think about what you're playing the playing becomes stilted. You have to just focus on the music I feel, concenctrate on the music, focus on what you're playing and let the playing come out. Once you start thinking about doing this or doing that, it's not good. What you are doing is like a language. You have a whole collection of musical ideas and thoughts that you've accumulated through your musical history plus all the musical history of the whole world and it's all in your subconscious and you draw upon it when you play
I think I was first awakened to musical exploration by Dizzy Gillespie and Bird. It was through their work that I began to learn about musical structures and the more theoretical aspects of music.
My musical director, Mark Cherry, is the most wonderful person who ever lived on God's good green Earth. He's my director, he does the arrangements. Really, he does everything - including certain janitorial chores!
Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much you approach the songs in pretty much the same way. The difference might be that in a film you have a close up. On stage you don't. So there are more songs on the stage because the songs are kind of the close up.
My background is in musical comedy. I didn't know I was going to be an actor. But all my points of reference have to do with musical comedy and in being kind of a showoff.
If I were to do a musical, I think I would rather make a film musical.
The respect for a musical score must come from the director... If the director has no power and has to surrender to budgetary constraints, this is where we have the problem.
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