A Quote by Shoojit Sircar
My films are based on themes, so I always go for theme tracks and background score.
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Most films don't have a budget for a background score, but it is the toughest job to do. We work like donkeys. And usually we get only around a month to do a score.
So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.
The beauty of my job is I do all different kinds of film directing, not just surf films anymore. And I do stuff from commercials to short films to working on feature films, and none of it is based from where I live. It's all based elsewhere, so I can live anywhere and commute to where I need to go.
My secret ambition was always to provide music for animation films: something with an Indian theme, either a fairy tale or mythological tale or on the Krishna theme. I still have a very deep desire, but these sorts of chances don't always come.
The beauty of a main title is that you establish your main theme and maybe a bit of your secondary theme. You plant the seed that you're going to go water later in the score. And so, having that removed just made it so much more difficult.
What I think of as 'freakonomics' is mostly storytelling around an idea - not a theme but an idea. I like ideas much more than themes. Themes are boring. Themes are, 'Wool is back,' but ideas are, 'Why is wool back?'
Reading what a good shot is, based on time and score of the game, based on the shot clock, based on my position - there's a lot of things that go into it. It's a lot of things that you think about based on when to shoot it or when not to.
You are a 64-track recording - the tracks are always there, they're always with you. Sometimes the harsh tracks are cranked up and the rest are rolled down to zero. Other times the sweet tracks are high and the darkness is low. But it's all you.
You can get anything from Mozilla Firefox-based themes to nature themes to your own photographs.
There is a regular format for songs in commercial films, such as a hero introduction song, but in 'Premier Padmini,' the songs and the background score aid the script.
I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging.
Horror films and genre films are interesting, because I always look for a deeper meaning or a deeper theme in the film.
Doing background score for a film is not an easy task. It requires constant and deep learning and it is the only way to create a score with finesse.
Always when you are doing films, the themes swallow you in one way or another.
When I look at the directors that I really love, who really develop their films over time, they're almost always the ones who go back again and again and again at the same investigations. I think that when somebody has a theme they go after, it's fun to service that. It's like, "I know you now. I know what you go at." It helps you locate yourself a little bit quicker in their world.
To me, score is really important. I would rather not have any score if it's something that's going to detract from the film. So often when I watch films, the score is what really bothers me.
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