Siddhartha Khosla
speaker
226 appearances
1 recordings
1 series
first heard Jan 2025
last heard Jan 2025
Siddhartha Khosla’s voice in public audio — every appearance, attributed to the second.
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Appearances
And Dan's like, they have people that they've worked with before in terms of composers. And they've worked with people that I love, too. And Dan's like, just see what you think. read it. And I read the script and blown away. I just remember being like, there's some magic to this. This is really special.
So at that time, and I've told this story before, my wife and I were living with our daughter, Nevi. We were living in Jersey City in Jersey. And I was composing everything at that point. People thought, like I had a friend of mine who lived in Brooklyn, like another music composer that sometimes I'd go to his studio to work out of.
I started telling people that I worked from Brooklyn, because it just sounded cooler. And so anyone I talked to here, like, oh, yeah, Sid's in Brooklyn. Hey, that sounds cooler than saying, like, Jersey City, right? And it sounds way cooler than where I really was working was my parents' basement in Jersey. Yeah.
So I, so my parents live in New Jersey and I needed to find some, this place a little bit more space. So I'd go into their basement and I set up a little desk. It was just like, it was this wooden table and I had a laptop on it and I set it up in the corner of the basement and I would just work from there. And I never told anybody that I worked from my parents' basement.
And when I got the pilot, when I got that pilot episode, I was blown away by that script. Dan told me, this is not your gig basically right now. Like it's, I'm not, you're just not gonna, can't just give it to you basically. You just have to, you have to talk to Glen and John, see how they feel about you, because they're doing the pilot and you know, the directors of pilots are huge.
Yeah, they have a lot of influence. Absolutely. They set the tone, as you know, and it's, and the tone of our show really was established in that pilot in a beautiful way. Obviously, it evolved. Ken took it in a whole other place. That was gorgeous in its own way. But it started with Glenn and John in the pilot. I was coming out to LA for a meeting or something, and I wrote this piece of music.
And I didn't wanna show it to Dan. I was like, I wrote this six minute piece of score off the pilot. And this is how I would think and how I still think to this day. And I'd start writing. And I came to LA and I extended my trip for a few days and I spent three days in a recording studio here in LA, like a real recording studio with a friend of mine.
And we recorded this piece of music and that's what I turned into Glenn and John and Dan, like after I spent like so much time on it. And Glenn and John and Dan were like, that's it right there, that's the sound.
It became... I turned this piece of music into them. And it was like, it became... You'll hear for the first time in like the first couple episodes when Chrissy is in that Weight Watchers class. That's the theme that plays there. That's the very first thing I ever wrote for the show. In my mind, I was like, this is a dramatic piece. This could end an episode.
I was like, this has this sort of weight to, it's got a melody. I was like, and Glenn and John were like, no, we're going to use it. And Dan was like, we're going to use it over a comedic sequence. You know how some of those Weight Watchers scenes early on were like, they were funny. There was so much banter there between you, Chrissy, the meetings, all that.
And in my mind, this is a funny comedic scene. I would get picture back and they would drop that theme over there. And I remember being like, why are we, this is a dramatic piece of score. Why are we putting over something funny? Wow. And that's when Glenn and John and Dan hit on something in the pilot. And they were like, we're never going to touch the comedy in the show.
You're not scoring comedy ever, which would be also be kind of hokey in some ways to do that. Cause it's, it's already grounded in real. It's funny, but we're going to score the subtext of why these people are here. And that's what they would do. And then it became like, okay, now we're starting to understand
That was the language of the show in terms of why we use music, when we use music, what it sounds like. And the other piece of it too was Dan told me when he gave me the script, he's like, we're thinking of using Sufjan Stevens. His song to play in the opening of the whole series. I heard and I love Sufjan. I heard it and I was like, okay, this is organic, acoustic based.
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.
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.
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.
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.
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