Arjun Janya Quotes

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.

There's always a question of duration, there's a question of who the orchestra is. No one is free to write what you want - you collaborate on a film score, and one of the good things is that someone else's work is motivating you.

I would really love to do the score for movies. Pick the music and work with composers. I don't know if I'd be any good at it, but I love music.

I don't like to surprise anyone with the music I compose for a film. That way, there is less trouble later on.

I've written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I'll get someone who is good at writing scores to write it out. Or, if I have the luxury of time, I will go in a room and hear the people perform and then change it through what I hear, not on paper. I can read music OK, but I probably rebelled a little - music changes into something else when you read it.

Everyone who makes music is a good collaborator at their foundation because in order to make music, you have to connect to it in a way that other people can't.

Jeff Lynne is an arranger, and I think it's probably much easier for him to go ahead and play a part himself than to try to show somebody else what he wants. But it's hard for me to say; I barely know Jeff.

I feel like I'm a secondary artist, a kind of a conduit for the writer, and if it's a good writer, then I have a great road map.

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.

The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.

When I have to score a film, I watch the movie first and then start thinking about it. And from that moment on, it is as if I were pregnant. I then have to deliver the child, so from that moment on, I think always about the music - even when I go to the grocery store, I think about it.

I have to see a definitive cut of the film before I even start thinking about the music, I tell the director what my feelings are and what I would like to do. He accepts what I say or discusses it or destroys it. Eventually, we have to find a compromise.

I think a melody is a melody. And the way I usually start is I start writing my themes without even writing to picture to just try to find the tone for the movie or the TV show.

The only thing I don't write is the guitar solos, but even then I might suggest one or two things.

Without the knowledge of music, it would be very hard to write film music. There are so many films, and each one has a different historical background and everything.

When I was composing for 'The Villain,' I looked at it as a fan and came up with tunes accordingly.

When I compose for any film, I always work with the story in mind.

Part of what I enjoy about writing classical music is communicating through the score and collaborating with such amazing musicians.

I would love to work with Shankar-Ehsaan-Loy, because I love their music and they are responsible for a lot of incredible stuff.

I try to communicate with the musicians the way I communicate with the filmmakers. I'm not going to say to them, can we be a little bit more presto here. Hang on, this should be a bit more exciting, or I try to explain the scene to them, or I try to explain the context the notes are supposed to live in.

If you ever go to a music session, you'll notice that the musicians can sit down and start playing right away, and everyone knows what to do. Of course they're reading it, but the conductor can tweak little things, and you can take that back to directing motion pictures.

When I composed, I heard my music played by the orchestra within days of completion of the score. No master at a conservatory, no matter how revered, can teach as much by verbal criticism as can a cold and analytical hearing of one's own music being played.

My best film composing experience was with Elia Kazan.

Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I don't understand why this happens in the movie industry.