Vijay Antony Quotes

It is quite normal these days to record a song in the absence of the composer.

I was about 11 when my mother brought me this karaoke machine and I was really into it back then, but about 4 or 5 years ago is when I started printing up my own music, going to the studio and doing my own thing.

How did George Bensen cut 'In Your Eyes?' How did I work with the Backstreet Boys? It all comes back to 'Sometimes When We Touch.'

Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.

I will never, never ever sing on stage, but when I'm in the studio, I do sing melody lines. When I'm working with singer-songwriters, and I hear melodies, I can guide them. I will be like, 'Oh no, do this this this.' But you will never hear my voice on a Martin Garrix track.

When I did 'Happy Birthday,' I wrote the treatment for the video before I wrote the record. And once I wrote the video, I had a clear understanding of what I wanted; I created the soundtrack to that video.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

But when I record my next studio album, of course I'll do the lead vocals.

I've written songs for Shirley Bassey, Marianne Faithfull, and Linda Thompson. I sort of focus on these wonderful, aging divas. But maybe that's because I think I'm Christina Aguilera.

I started performing at two or three on a tape recorder, one of those little flat recorders where you just push play and record.

In 2008, I was more just thinking about using the touchscreen for writing the songs. From there I started thinking about how I visualised music.

I know what it takes to put a record together, so I'm not looking for people to come in and shape it.

I feel a composer should not crave to sing songs because songs itself decides its voice. The films where I have given music, I have kept my option for the last. I like to make music and not necessarily singing all the songs.

I played more of an advisory role with Public Enemy. I really trusted them to make the music that they wanted to make, and the way The Bomb Squad worked with the... they created their whole own world of music.

Puffy produced four of the tracks on the album. Those are the four songs that are collaborations between Puffy and me. And he gives me my space to work even when we work together, like with my producer and my vocal coach.

Some artists want a producer to be a kind of svengali - someone who actually creates a sound for them.

In addition, I'm finishing a track for the movie 'Waking Up In Reno', but there are numerous other singers I look forward to recording with in the near future.

I would be content if I had nothing but a tape-recorder. I could still write songs and record them.

The record producer is the music world's equivalent of a film director.

I make the songs and part of making them is singing them. But what you hear is not me. It's the song. It's through me.

I have a recording that I did of instrumental songs.

I love female singer-songwriters!

Acting comes first. I would love to make an album. I was at an event... for Dionne Warwick, and we got to go in the studio and go crazy. I love singing, but it's very time consuming. I have to make time for it.

I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.