Siddhartha Khosla

He goes, that's something. I don't know what it is, but he's like, just go finish it. And then I finished it. I added some piano to it. There was a cellist that came and played the... And then that became our ending credits theme, season one. And then, I don't know what it is, but Dan... His whole film, as a filmmaker and music, he's so good with the two.

He goes, that's something. I don't know what it is, but he's like, just go finish it. And then I finished it. I added some piano to it. There was a cellist that came and played the... And then that became our ending credits theme, season one. And then, I don't know what it is, but Dan... His whole film, as a filmmaker and music, he's so good with the two.

He goes, that's something. I don't know what it is, but he's like, just go finish it. And then I finished it. I added some piano to it. There was a cellist that came and played the... And then that became our ending credits theme, season one. And then, I don't know what it is, but Dan... His whole film, as a filmmaker and music, he's so good with the two.

He's so good with the feel of music against picture, always. And so he would sometimes say to me, he's like, hey, that theme for the end credits, what if you tried doing a version of that here when Randall is...

He's so good with the feel of music against picture, always. And so he would sometimes say to me, he's like, hey, that theme for the end credits, what if you tried doing a version of that here when Randall is...

He's so good with the feel of music against picture, always. And so he would sometimes say to me, he's like, hey, that theme for the end credits, what if you tried doing a version of that here when Randall is...

at the driving range playing golf yeah then didn't that happen with young randall at one point and with you yeah and i was like okay and i wouldn't question it i wouldn't be like well why but i was like okay well this is one of the themes that is becoming sort of a central connecting theme for the show one of them and so we'd start just folding it in different places and then year after year it found its use in another spot and in another spot just

at the driving range playing golf yeah then didn't that happen with young randall at one point and with you yeah and i was like okay and i wouldn't question it i wouldn't be like well why but i was like okay well this is one of the themes that is becoming sort of a central connecting theme for the show one of them and so we'd start just folding it in different places and then year after year it found its use in another spot and in another spot just

at the driving range playing golf yeah then didn't that happen with young randall at one point and with you yeah and i was like okay and i wouldn't question it i wouldn't be like well why but i was like okay well this is one of the themes that is becoming sort of a central connecting theme for the show one of them and so we'd start just folding it in different places and then year after year it found its use in another spot and in another spot just

You know, then the kids are putting, when Jack is putting the car seats in the car. Yeah. It becomes the music for the montage of that.

You know, then the kids are putting, when Jack is putting the car seats in the car. Yeah. It becomes the music for the montage of that.

You know, then the kids are putting, when Jack is putting the car seats in the car. Yeah. It becomes the music for the montage of that.

So it's like this connective theme for the family all of a sudden.

So it's like this connective theme for the family all of a sudden.

So it's like this connective theme for the family all of a sudden.

And then you're like, oh yeah, this is, and then you do it enough. This is us. If you do it enough, yes. That, it becomes the connective theme for the family over and over again. So then cut all the way to season six. Dan says to me, well- There's a history of how we got there first before, so let's go back. But your question was on the original songs, and we'll get to season six.

And then you're like, oh yeah, this is, and then you do it enough. This is us. If you do it enough, yes. That, it becomes the connective theme for the family over and over again. So then cut all the way to season six. Dan says to me, well- There's a history of how we got there first before, so let's go back. But your question was on the original songs, and we'll get to season six.

And then you're like, oh yeah, this is, and then you do it enough. This is us. If you do it enough, yes. That, it becomes the connective theme for the family over and over again. So then cut all the way to season six. Dan says to me, well- There's a history of how we got there first before, so let's go back. But your question was on the original songs, and we'll get to season six.

In season one, the Memphis episode comes up. Golly. And Dan calls me, Dan, Glenn, and John, direct that episode, one of the best episodes, series. I still think it's just incredible filmmaking to this day in that episode. And Dan says, can you write, or Glenn and John actually call me that, can you write a Stax Records B-side series like a soul tune, Otis Redding-esque thing for us.

In season one, the Memphis episode comes up. Golly. And Dan calls me, Dan, Glenn, and John, direct that episode, one of the best episodes, series. I still think it's just incredible filmmaking to this day in that episode. And Dan says, can you write, or Glenn and John actually call me that, can you write a Stax Records B-side series like a soul tune, Otis Redding-esque thing for us.