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.
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.
By the '40s, Sam Goldwyn is a very serious man. By the '50s, he's the dean of American producers. To the end, he was Hollywood's gray eminence.
Directors, producers can make you look good or make you look bad.
We need a reasonable price where producers will not start nagging. At a reasonable price, we can invest to produce more oil.
The first eight years in Mumbai were specially tough. I knew during the first two months of my stay that there's no point waiting for hours to meet producers. They won't meet you and definitely won't give you a role.
Of course I am aware that there is a level of sexism in any large institution, but I find, in television and film, most of the producers are women.
I've recorded 25 or 30 albums. I know that sometimes when you work with producers who are kinda dictators, it doesn't help you make a better record.
I've learned a lot of tricks from working with a lot of great producers over the years, and I think I should write a book about it!
When I walked in to read with Edie Falco, it was nice, because I auditioned in New York, and it was very quick. You walk in, there's Edie, the producers, the director, and a camera. I read three scenes, and it was done.