Siddhartha Khosla

Yeah. It was me sending music to Koch and to Dan for approval. Koch had set a palette already and had some themes and I was just integrating them into the show because they were good. I was like, I'll do my own thing in places, but that's how that all started. And then I had so much fear that I couldn't score the picture. I had never done it before.

Yeah. It was me sending music to Koch and to Dan for approval. Koch had set a palette already and had some themes and I was just integrating them into the show because they were good. I was like, I'll do my own thing in places, but that's how that all started. And then I had so much fear that I couldn't score the picture. I had never done it before.

Yeah. It was me sending music to Koch and to Dan for approval. Koch had set a palette already and had some themes and I was just integrating them into the show because they were good. I was like, I'll do my own thing in places, but that's how that all started. And then I had so much fear that I couldn't score the picture. I had never done it before.

And Dan was always like, he would like the melodies I would write. And he would say, bring that melody back here, bring that melody back here. And he'd point to the areas to do it. And he taught me to write thematically, Dan. In that process, Dan was like, it's okay to have a singular theme, a singular melody that you just go back to over and over and over again. It's okay.

And Dan was always like, he would like the melodies I would write. And he would say, bring that melody back here, bring that melody back here. And he'd point to the areas to do it. And he taught me to write thematically, Dan. In that process, Dan was like, it's okay to have a singular theme, a singular melody that you just go back to over and over and over again. It's okay.

And Dan was always like, he would like the melodies I would write. And he would say, bring that melody back here, bring that melody back here. And he'd point to the areas to do it. And he taught me to write thematically, Dan. In that process, Dan was like, it's okay to have a singular theme, a singular melody that you just go back to over and over and over again. It's okay.

I mean, that's the John Williams approach. That's Spielberg. That's how they worked their whole career.

I mean, that's the John Williams approach. That's Spielberg. That's how they worked their whole career.

I mean, that's the John Williams approach. That's Spielberg. That's how they worked their whole career.

No, no, no, no.

No, no, no, no.

No, no, no, no.

That's one thing he's not good at.

That's one thing he's not good at.

That's one thing he's not good at.

He has feel. What Dan offers and what he's done, what he did phenomenally well on this show and others, but this one particularly ours, this is us, is that he's got great feel, great emotional feel. He knows if something moves him in a certain spot, it's going to move him. millions of other people too. He has that thing in him, that's the magic.

He has feel. What Dan offers and what he's done, what he did phenomenally well on this show and others, but this one particularly ours, this is us, is that he's got great feel, great emotional feel. He knows if something moves him in a certain spot, it's going to move him. millions of other people too. He has that thing in him, that's the magic.

He has feel. What Dan offers and what he's done, what he did phenomenally well on this show and others, but this one particularly ours, this is us, is that he's got great feel, great emotional feel. He knows if something moves him in a certain spot, it's going to move him. millions of other people too. He has that thing in him, that's the magic.

Which is why when you're watching End of the Pilot, This Is Us or anything, your hair raises and you're like, oh, holy shit, what just happened? He experiences these things himself when he's watching and working in the edit bay. And when something hits him, he knows it's going to hit other people. It's a very cool thing. And so it's like, he's got great feel. But even back then, He had great feel.

Which is why when you're watching End of the Pilot, This Is Us or anything, your hair raises and you're like, oh, holy shit, what just happened? He experiences these things himself when he's watching and working in the edit bay. And when something hits him, he knows it's going to hit other people. It's a very cool thing. And so it's like, he's got great feel. But even back then, He had great feel.