Clinton Cerejo: People need to stop treating songs and background score as one entity

Published on Dec 05, 2022 05:14 PM IST

Musician Clinton Cerejo, who has given the background score for Kartik Aaryan’s Freddy, feels that background scores get marginalised in our country, and people don’t realise the value of it.

Clinton Cerejo is known for his work in movies like Bob Biswas, Bhoot Police and others
Clinton Cerejo is known for his work in movies like Bob Biswas, Bhoot Police and others
ByAshish Kumar Singh

Clinton Cerejo, who composed the background score for Kartik Aaryan’s latest OTT release Freddy, is furious over the lack of recognition for those who compose the original score for the film. He took to Instagram to pointed how people are not aware of the difference between the music director and the one who composes background score.

Expressing his frustration, the musician tells us, “My whole point of lashing out was that it happens in every film. This isn’t the first time it’s happening and this won’t be the last. The fact is that background scores get marginalised in our country, and people don’t realise the value of it. High time people need to stop treating songs and background score as one entity.”

The musician says since he happens to do both -- compose music as well as original score -- he knows that it takes equal time for both. “So, nobody can tell me that it’s not possible that the two take can equal amount of time,” he says and goes on to explain, “Background scoring as an art form is completely different from songs. You cannot say that one is better than the other. All I’m saying is every person needs to get their dues.”

Cerejo’s concern comes after he called out a section of film critics for “not taking an effort and double checking while reviewing a film as to who composed the original score”, and wrongly mentioning music composer Pritam’s name for giving the background score whereas he has composed the music for Freddy.

Making a valid point, he adds, “The commoners might not understand the terminologies but a film critic should know the technicalities of filmmaking.”

Asked if music producers should start on a conversation around it to spread more awareness, the composer says, “I’ve been a music composer before doing original scores for films... Sometimes, there are movies with just one song, and the remaining film rests entirely on the shoulders of background score. However, the credit ends up going to the music director. That’s where the problem starts. There should be a clear bifurcation on who has composed the song and who has scored the background. There is no cultural awareness. Something that has been in the industry since the 60’s and 70’s. Legendary composers like R D Burman and others were always known for their songs despite them composing original scores for films. This mindset needs to slowly change now.”

Citing examples of films such as Inception and The Dark Knight, Cerejo says, “Everyone knows Hans Zimmer that he has composed the score and not the songs. Songs can be done by anyone like Billie Eilish did for No Time to Die. Everybody in our country is now exposed to how things are happening, thanks to social media and OTT platforms. This is the time to raise our voices. We can’t spend our whole life thinking all this is fine.”

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