Music Direction Quotes

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.

I don't want people to think like Roddy is John Legend now. I just felt like once I got to a certain point, that I wanted to expand musically.

I not only composed music for my albums but also for the film 'Main, Meri Patni Aur Woh.'

I don't think I could make a good film, but I could definitely score a good film.

Conducting has more to do with singing and breathing than with piano-playing.

Conducting, I tried it once off the cuff, and quickly realized there were subtle aspects that I was missing. There is a lot more to it that I was able to grasp simply by watching conductors.

After 1999, I thought that I needed a break. As a senior composer, I didn't like the trend of three music directors working on a single film. But after a few quiet years, I was back for good.

I lived in a cabin in the woods in Oregon, and I'd basically given up on the music industry for an indefinite amount of time. And while I was out there, I came up with a very specific vision of what I wanted my music to sound like.

I finally wasn't interested in writing music that played while actors talked.

Everybody got away from what Pearl Jam are supposed to be.

I would like to find a way to embrace what Led Zeppelin did, in filmmaking.

The metalcore has been left behind. It's not something that any of us find enjoyment in listening to, so it's obviously not the direction we would write songs in.

I've had big record label presidents look me in the face and say, 'Your music sucks, you don't know who you are, your music is all over the place, and we don't know how to market this stuff. Pick a lane and come back to us.'

My talent is definitely a gift. I don't understand where it comes from. I don't play an instrument, and I never went to school for music production, but I know exactly how a song should sound and how to give an artist direction.

As for song recordings - well, that's something that just happens. I've been working with music directors like Harris Jeyaraj sir, A. R. Rahman sir, and the experience is great.

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

We got pretty techno on 'Eliminator' and 'Afterburner,' which I enjoyed. I think they're good albums, but we wanted to start using the techno element a little more sparingly.

Sometimes, I record rough patches of tunes and take them to directors. They choose to retain my voice. Personally, I don't like my voice, and never want to record.

My favourite composers are Vishal Shekhar, AR Rahman, Shankar Ehsaan-Loy.

Some directors ask for a hero introduction number, a duet and a fast number towards the climax. Most of the times, these songs only hinder the story.

After a post-Bill Berry softening with albums like 'Up' and 'Reveal,' R.E.M. seems to be toughening up again; on the strength of the first single, 'Discoverer,' the band's new record looks to continue with the same muscular rock and roll that defined its last album, 'Accelerate.'

The record [American Idiot ] felt special to us, when we recorded it, with all of the artwork and the concept behind it and it being a rock opera, but we didn't really know where it was going to go. It's like I always say, you just follow the music. Not only was American Idiot a special moment for us, but it also led to Ordinary World, too.

I felt my music wasn't aiming at anybody. Everything I was doing was because it was a good song.

I don't like the way a lot of music is going these days. No one buys it.

I used to watch the Broadway 'Les Miz' and study it.