{"id":149026,"date":"2012-03-11T18:22:18","date_gmt":"2012-03-11T18:22:18","guid":{"rendered":"https:\/\/socancom100stg.wpenginepowered.com\/film-and-tv-composer-amin-bhatia-started-in-synthesizers\/"},"modified":"2012-03-11T18:22:18","modified_gmt":"2012-03-11T18:22:18","slug":"film-and-tv-composer-amin-bhatia-started-in-synthesizers","status":"publish","type":"post","link":"https:\/\/uat.socan.com\/fr\/film-and-tv-composer-amin-bhatia-started-in-synthesizers\/","title":{"rendered":"Film and TV composer Amin Bhatia started in synthesizers"},"content":{"rendered":"

Les traductions pour les articles avant l\u2019automne 2013 ne sont pas disponibles pour le moment.<\/strong><\/p>\n

When Amin Bhatia released his 1987 debut album, The Interstellar Suite, his intent was to create a loyal tribute to orchestral music using analogue synthesizers exclusively. \u201cI\u2019m a sci-fi and 20th Century orchestral-music geek,\u00a0\u00bb he says. \u00ab\u00a0Tchaikovsky, Stravinsky, film composers John Williams and Jerry Goldsmith. My albums are an homage to that.\u201d<\/p>\n

Before then, Bhatia never imagined he\u2019d make a living composing. \u201cI was working as a radio producer, but after the album deal came along (brokered by Toto\u2019s Steve Porcaro) I told my bosses, \u2018Goodbye, I\u2019m going to be a famous composer now.\u2019\u201d Unfortunately, owing to personnel changes at Cinema Records\/Capitol, Bhatia couldn\u2019t find a single familiar face at the label willing to promote it. \u201cSix months later I said, \u2018Can I have my job back, please?\u2019\u201d<\/p>\n

Over time, however, the album gained a passionate following. Consequently, when the Toronto-based composer celebrates the record\u2019s 25th anniversary with a new 5.1 surround sound remix later this year, he doesn\u2019t intend to change a note. \u201cFans who\u2019ve written to me have said, \u2018Don\u2019t change a thing,\u2019\u201d he says. In fact, when Bhatia released his follow-up, Virtuality (2008), and augmented his synthesizer tracks with acoustic orchestral instruments, some die-hards were upset, Bhatia explains, laughing. \u201cThey said, \u2018How dare you bring in real players?\u2019\u201d<\/p>\n

Ultimately, Bhatia has made a living in music; scoring the likes of Iron Eagle II and John Woo\u2019s Once a Thief, winning multiple Gemini Awards, and garnering an Emmy nomination (with Ari Posner) for Disney\u2019s Get Ed animated series.<\/p>\n

Bhatia had no desire to leave Canada, but considered relocating to L.A. to further his career. \u201cAnd then along came Flashpoint,\u201d he says. Bhatia and co-composer Ari Posner have been scoring the groundbreaking CTV\/CBS crime drama since 2008. Flashpoint\u2019s score and theme have garnered the pair 2009 and 2010 Gemini nominations and two 2011 SOCAN Awards, for international and domestic film music.<\/p>\n

\u201cAri\u2019s the best collaborator I\u2019ve ever had,\u00a0\u00bb says Bhatia. \u00ab\u00a0We each know how the other works. The thing I love about film and television music is that the story tells you what to do. When we sit down with the rough cut, we don\u2019t know what our week will be like. That\u2019s the joy \u2013 and the challenge.\u201d
\nAlthough Bhatia works from Canada, after scoring Iron Eagle II (1988), his U.S. attorney recommended membership in BMI. In 2010, Bhatia finally made the move to SOCAN. \u201cI\u2019m an avid member of the Screen Composer\u2019s Guild of Canada,\u00a0\u00bb he says. \u00ab\u00a0I\u2019ve had a bird\u2019s-eye view of what SOCAN is working on. Their emphasis on where copyright is going and philosophy of looking for fair ways to make it work just made sense to me. And, frankly, SOCAN answers my calls.\u201d<\/p>\n

Track Record<\/strong>
\n\u2022 Bhatia realized he wanted to work in film music after seeing Disney\u2019s Fantasia at age eight and the original Planet of the Apes at age 11.
\n\u2022 He won the World Grand Prize at the Roland International Synthesizer Competition in Tokyo for two years running, in 1981 and 1982.
\n\u2022 As a synthesist, Bhatia has also worked on Michael Jackson\u2019s Thriller (1982), David Foster\u2019s The Best of Me (1983) and Toto\u2019s Fahrenheit (1986).<\/p>\n","protected":false},"excerpt":{"rendered":"

Scoring career ignited by Flashpoint<\/p>\n","protected":false},"author":0,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[97],"tags":[],"class_list":["post-149026","post","type-post","status-publish","format-standard","category-non-categorise"],"acf":[],"_links":{"self":[{"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/posts\/149026","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/comments?post=149026"}],"version-history":[{"count":0,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/posts\/149026\/revisions"}],"wp:attachment":[{"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/media?parent=149026"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/categories?post=149026"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/tags?post=149026"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}