Siddhartha Khosla

This is what they're already responding to. Then that piece that I wrote, felt like it could have been maybe like a B-side of like a sitcom. But it had that feeling a little bit. And so anyway, but that was a huge moment because that got me the job for the show. And it also taught me that moment that like, I can bring in my own artistry from my band world just by reading a script.

This is what they're already responding to. Then that piece that I wrote, felt like it could have been maybe like a B-side of like a sitcom. But it had that feeling a little bit. And so anyway, but that was a huge moment because that got me the job for the show. And it also taught me that moment that like, I can bring in my own artistry from my band world just by reading a script.

I don't have to pay attention to the picture right now. I can read a script and feel the emotion in it and write something to it and turn it in, and it can become something. And I can feel free to mess around with sounds and ideas and not feel confined to anything.

I don't have to pay attention to the picture right now. I can read a script and feel the emotion in it and write something to it and turn it in, and it can become something. And I can feel free to mess around with sounds and ideas and not feel confined to anything.

I don't have to pay attention to the picture right now. I can read a script and feel the emotion in it and write something to it and turn it in, and it can become something. And I can feel free to mess around with sounds and ideas and not feel confined to anything.

Still.

Still.

Still.

Because then it also, the challenge as a composer is, and I had this conversation with a lot of other composers in this business, is that oftentimes composers don't get involved until later in life. The edit. So you film the episode, editor gets in, does their cut of the episode. They'll put in what's called temp score. Yeah.

Because then it also, the challenge as a composer is, and I had this conversation with a lot of other composers in this business, is that oftentimes composers don't get involved until later in life. The edit. So you film the episode, editor gets in, does their cut of the episode. They'll put in what's called temp score. Yeah.

Because then it also, the challenge as a composer is, and I had this conversation with a lot of other composers in this business, is that oftentimes composers don't get involved until later in life. The edit. So you film the episode, editor gets in, does their cut of the episode. They'll put in what's called temp score. Yeah.

They'll find score from other soundtracks, other things that they want their show or film to feel like. Right. And then as a composer, you come in later on and then you're chasing temp.

They'll find score from other soundtracks, other things that they want their show or film to feel like. Right. And then as a composer, you come in later on and then you're chasing temp.

They'll find score from other soundtracks, other things that they want their show or film to feel like. Right. And then as a composer, you come in later on and then you're chasing temp.

It's all that it's, and it's, so it's A, it's a lot of ego there. And B, it's also nerves of having to chase something. It skips a bunch of emotional steps.

It's all that it's, and it's, so it's A, it's a lot of ego there. And B, it's also nerves of having to chase something. It skips a bunch of emotional steps.

It's all that it's, and it's, so it's A, it's a lot of ego there. And B, it's also nerves of having to chase something. It skips a bunch of emotional steps.

Similar thing. And also, if we want to create something original and something beautiful in our minds, sometimes you have to sort of allow for... you know, the artistry to come through. And you have to sort of allow a place for, I mean, had we not done it this way, I don't think the score would have been what it was. It would have been a different thing.

Similar thing. And also, if we want to create something original and something beautiful in our minds, sometimes you have to sort of allow for... you know, the artistry to come through. And you have to sort of allow a place for, I mean, had we not done it this way, I don't think the score would have been what it was. It would have been a different thing.

Similar thing. And also, if we want to create something original and something beautiful in our minds, sometimes you have to sort of allow for... you know, the artistry to come through. And you have to sort of allow a place for, I mean, had we not done it this way, I don't think the score would have been what it was. It would have been a different thing.