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
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...
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.
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.
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.
And it was probably because I know there must have been other people they were thinking of because we had not touched original songs yet for the show. And I think at one point there might have been a conversation of John Legend possibly coming in and writing the song or people like that they wanted to reach out to who were probably the right people to write the song.
because they're incredible songwriters and would understand soul in a different way.
It's all about authenticity. I remember the call to me. I was just like, I can't write a Stax Records beat. This is not my wheelhouse. But I knew that I could find I knew I could write a melody, and I knew I could get some ideas across. And I remember just putting myself in that place of like, doors are closed in my studio. And I'm just like, you know. We can always come back to this.
I started doing stuff like that in my studio, just by myself. Yeah. Embarrassingly. Yes. Thinking of this idea of me pretending I was some soul singer and going that place. And it sounded terrible, like it probably just did. And it wasn't right. And then I called my friend Chris Pearce. who is an incredible singer-songwriter. I mean, the guy sounds like Otis Redding. Okay. And did you meet?
You must have met Chris in that process. Big guy, right? Because Chris filmed.
He's on stage. So Chris and I got together, and I said, Chris, I have this idea. And the basic idea was like, Mother, don't you cry.
we're gonna be all right when you get there tonight you're not alone i'm always here with you with just a little line melody and then chris and i sat together and within like an hour we just mapped out the song and chris sang it and when he sang it it was like i mean he sounds like otis redding when he sings i mean like it was just gorgeous
voice and I recorded, I filmed Chris singing on guitar and I sent that to Glen and John and Dan and they were just like, oh my gosh. Talk about authenticity too and why it's important in any of the work we do is just because I was handed the gig to write the song and may have written some pieces of it, it didn't make it right just yet.
I needed Chris to come in, co-write it with me, and make it right. He brought the authenticity that he needed. He's a soul singer. It had to be real because this song took place in Memphis. What year were we probably? Seventy? Something like that. Yeah, that sounds right. This was something that was being performed on stage by the amazing Brian Tyree. That's right.
That's when the song took off because then Brian came in and sang it. So Brian came in, jammed with me and Chris in our studio, in my home studio. He came over and we started teaching Brian the song and Brian just like, ignored some of the, like the ideas that we had and he just started singing it the way that he was feeling it.
And it was like, oh my gosh, he sounded like, I don't know if you listened to like Teddy Pendergrass. Brian sounds like Teddy Pendergrass. And it was like, it became even cooler. It was like, I couldn't, I was like, I was like, this is, that's an even a more interesting choice than an Otis Redding type of sound. I was like, cause it's deeper in that. It's a deeper cut in Teddy Pendergrass.
It's not an artist that we may have heard of him, but not many people have the same appreciation. That became its own beautiful thing because we went into a recording studio then to record the song. Because when you're performing this stuff in the scene, sometimes you have to play the track. There's another bands not actually playing in the scene. Brian may not actually be singing.
That was the thought when we went in. But Dan and I talked about it and we said, let's have Brian really sing it live on set because there's just something visceral about his voice. And the guy's such a, he's such an incredible artist. Let his artistry shine. We went into the recording studio to prerecord it and we recorded it to keep it pure. We recorded it to tape.
Showing 161–180 of 226 · page 9 of 12
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