Composers and lyricists are not responsible for storyline and casting. One can imagine actors shouldering this responsibility, since they charge for half the film. But producers never ask actors to share the losses. Instead, they train their guns on composers and lyricists.
Composers and lyricists are making songs that are approved by the producers and directors.
When I came into films, I found a vacuum in the field of lyricists, writers and composers.
I want young Indian composers to be able to do more than just film music. I want to give them the skills that will enable them to create their own palette of sounds instead of having to write formulaic music. It doesn't matter if they become sound engineers, producers, composers or performers - I want them to be as imaginative as they like.
Although the civil-rights movement did a lot to change how black life was dramatized on the American stage in the fifties and sixties, white composers and lyricists often still rely on familiar tropes when it comes to representing black women in musicals.
I've got a collection of songs that I've had, I keep adding to and they're all great American composers. I wanted to showcase American composers and I've done that on a lot of my records and played things by American composers that I really respect.
I worked in feature film casting right out of college and spent a lot of time working with actors, directors, and producers.
I would like to see more new productions of new material by new composers/lyricists/book writers. I would like to see people take more chances. I think because everything costs so much they're not taking the chances they used to.
I don't meet stockbrokers or carpenters or coal miners; I spend all day with actors, composers and photographers.
Composers, artists, actors, singers - all of them, I think, unconsciously learn from others. I'm sure it's not conscious, but they can't help it.
Who are these people who are taking these decisions of casting only young actors in films? It is the filmmakers and the film producers. I don't know if that is what the audience wants because I really believe that masses respond to a good story.
Right from my first film, I've introduced several singers and lyricists to the industry.
I think somewhere in the '90s, it started to shift, and you started to see a lot of film and television actors doing theater, and producers using the notoriety of the film and television actors to sell tickets.
I think the tendency to paint composers or styles of music with too broad a brush - for example, identifying composers as writers of "simple" or "complex" music - has become increasingly problematic and is almost never productive.
Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.
Communists love to make films about composers because composers compose music and don't talk subversive things.
Communists love to make films about composers, because composers compose music and don't talk subversive things.