My favourite composers are Vishal Shekhar, AR Rahman, Shankar Ehsaan-Loy.
I don't listen to film music at all. I don't want to be influenced.
I think that purists may regard the '80s and Jerry Goldsmith being the quintessential example of film scoring, but that was also a very prominent type during a time when soundtracks were purely songs, and there was very little score.
My experience and growth in the film music world and the time I've spent studying legendary film composers have given me depth of insight into how music can inspire a range of emotions.
I've always listened to a lot of film music, actually.
I have tremendous respect for film composers.
I grew up on film scores and scores from films.
Some of my favorite scores include Bernard Herrmann's Hitchcock scores.
I've never been very good at creating absolute music, which has no non-musical dimension to it. I think that is why filmmakers gravitated toward my work.
My parents had a lot of movie soundtracks that they brought back from the States. So very early on I heard film music at home.
I would love to work with Shankar-Ehsaan-Loy, because I love their music and they are responsible for a lot of incredible stuff.
Film composers are the most prolific music makers on this planet, and most of us are, like, losing our minds if we're doing five or more movies in a year.
There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!
The people who do the scoring and the music for movies are very talented, really special people.
I was never that into the movies. Never. Even as a youngster. I became interested in movie music only because of the studio orchestras in Hollywood.
In movies, the composers and decision makers are different, so we don't come across classical songs often in films due to lack of interest. The decision makers are non-musical people, so one doesn't get to hear more classical songs in films.
Music critics have made it quite clear that any composer who ever contributed a four-bar jingle to a film was to be referred to as a 'Hollywood composer' from then on, even if the rest of his output were to consist solely of liturgical organ sonatas.
I know that the classical world has resisted film composers throwing their hat into the classical concert music ring. And you know I don't think that's totally without justification. I think sometimes it seems to me there is a built in automatic prejudice against the whole idea of it. And it's very difficult to overcome that stigma.
