Amit Trivedi Quotes

Normally, when people compose for film, you give them the film, and they look at it, and they compose it.

I've not used a score in any of my films so far.

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.

Sometimes you write music to a script or while a film is being edited. Sometimes I write without seeing any images, but that's rare. The approach is often based on practical decisions, but I'm interested in the narrative and physical space that music can occupy in a film or play.

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

So film music is something I absolutely wanna get involved in.

When you're working on film music, you're only working on 20, 30-minute sections at a time.

I wouldn't mind doing a soundtrack someday.

There's a lot of money in doing score music. You can get a chance to get nominated for an Oscar; I would love to get nominated again.

I don't know - music in film, for me, is not another part of a soundtrack; it is something that also helps to approach a character, to foresee the type of image - you see what I mean - it's like a part of the process.

When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.

It's a deliberate choice. I am a fervent supporter of the idea that you don't have to have wall-to-wall music in good films.

Whenever I watch a movie I like to imagine what sort of music I might compose for a scene, to create a particular kind of atmosphere, because when I see something I hear something.

I'm getting to compose music for diverse language films from all over the country.

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.

A good theme - like the 'Pink Panther' or 'Baby Elephant Walk' - can work all the way through the picture, which is what I did with them. So, for me, a good melody is not just a pretty tune.

I would love to compose for an entire film because it will be a different experience.

I think that most films have too much music in them; it overwhelms an audience.

As a screen composer or film-music writer, I need something that I can work with in the body of the score. Like 'Charade,' 'Moon River,' 'Wine and Roses,' 'Dear Heart' - they were all just themes that grew out of the picture.

Composing music for 'Mungaru Male 2' is a big responsibility and challenge.

When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.

What kills music in films is when it's done as performance, drawing attention to the fact that someone's in the background playing it.

Music, for me, in a film is never... I don't want to use music as a slave of the image. I want music to be art, or a body in itself to give something to the film.

When I was working on the music for this I didn't want to just use pop songs as the score - most movies do it and I've done it before.

A good film demands its own score, and if you are a musician, your conscience will never allow you to do something mediocre for a good film.