Sometimes, a remix is good because it reaches a whole new generation. But when it gets too much, it's irritating. Also, the original composer needs to be credited properly.
I grew up on Bach and Beethoven, and now I'm listening to more modern composers who I can't even name. But since I'm constantly doing music, it's difficult to have that quality time to listen to music and do classical stuff.
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.
Compared with other Indian film composers, I only write about six movies a year. Others write up to 60.
The more dollars the studio producers put in, the less freedom we have. If the budget hits $100m, they get scared - they'll take the existing score of a successful movie and expect composers to copy it, like wallpaper. The biggest challenge for any composer in Hollywood is to be as creative as possible within those boundaries.
I'm a film composer, but I'm a hip-hop guy.
Generally, as a composer, it's perceived as an employer-employee relationship.
I don't claim to be a composer, and I realize my approach is pretty dopey in comparison to the true masters of score work. That said, if someone thinks what I do specifically would work for their film, then, of course, let's see what we can do.
Why is the feeling of insecurity so prevalent in this field? Because the actor is such a dependent person on other people. If I am a painter, poet, composer, I am not really dependent on others.
I was always a composer since I was a kid, but the BMI Workshop is where the networking really all stems from. So many writers and influences and ways of communicating all sprang out of the time I was a member of that workshop.
