Himesh Reshammiya Quotes

In the beginning, I was so inspired by the music. I had the option to make something modern with classic undertones, but I wanted to make something that was exactly like that old sound.

There's the soundtrack to The French Connection II'I think It's my favorite soundtrack. It hasn't been released. I actually had to go and get the film and just make a recording of it to get the music.

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

I only made one film with a score, and I hate it. I hate the score of that film. It's not coming from me. I had nothing to do with it.

People like hearing songs that sound like something they've heard before, that's reminiscent of their childhood and of what their parents listened to.

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

I'm the same composer since my first film.

I'm into the old school. I listen to rock, soft rock, jazz, old school R&B.

The intelligent use of contemporary music in film has an enormous audience.

Hindi film music has always been completely driven by the plot. We singers never had any say in compositions.

I play music from Queen, to Elton John, to classic.

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.

I can put some chords together and maybe write a song, but I'm learning every day. And that's the fun part.

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.

There are two things John and I always do when we're going to sit down and write a song. First of all we sit down. Then we think about writing a song.

We still listen to the original lush arrangements with the orchestras.

Songs are puzzles - you get an intro, or maybe an end, but you gotta fill in the rest. Sometimes they come easy and sometimes they're a pain in the ass.

I'm listening to a lot of oldies.A lot of Al Green, Marvin Gaye. Luther Vandross... they were some of my icons.

You go through different stages when you're working on the music in film. At least, I do. You have a temp score, so you have music from other people, usually from other movies, to give you a sense of what the mood is supposed to be, what the atmosphere is.

Writing a song is a long road. Or it can be.

Melody is the first thing that comes to me when I'm songwriting. I learned piano classically first, and then I went into soul, and so melody has always been the first. It's so important.

I always had a feeling, for example, that there should be something from Verdi's "Requiem" in the film. You hear it when you see the lava flow in Iceland. That turned out to be a very easy choice.

I find it extremely difficult talking about my songs because there's so many different things that can make a song come together.

We always feel there are 3 parts to the song. The most important part is the reason it should exist. Our process usually consists of me sitting at the piano & Bob hovering over it. We throw ideas out...I start to play something...he'll hum something to make it better. He'll throw a line to me, I'll twist it to make it better and we scramble around like that for sometimes hours and days, 'til we both agree we've got something to show! That's how it works!

I still listen to older music a lot more than new singers. I listen to whatever's on the radio, but when I want to listen to something that moves me I put on a Stevie Wonder record.