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1. What's been the most defining mo- ment in your career so far? Without a doubt, the most defining moment was recording my orchestral piece Il-Bahhar tal-Lejl at the legendary AIR Studios in London. It was a profound experience to witness a solitary 'small idea' conceived in my home studio evolve into a massive, grandiose sound performed by an orchestra of over 50 professional musicians. Beyond the musical result, I found great fulfilment in the technical rigor of the entire pro- cess—from the initial creative spark to the meticulous physical labour of print- ing and taping parts for the players. Stepping into a hall where iconic scores like Interstellar were born provided a sense of professional validation that will stay with me throughout my career. 2. As a creative, how do you navigate the world and speed of social media? Social media serves as an indispensable bridge for modern creatives, allowing us to build a global audience and forge connections with other artists that were previously impossible. However, it is a tool that requires careful boundaries; I often find myself navigating the tension between its utility and its highly addic- tive nature. One of my primary concerns is that social media tends to showcase only the polished final product, effec- tively erasing the moments of doubt or the long hours where creative ideas simply refuse to flow. Furthermore, it's sobering to realise that months of intense labour can be bypassed in a second; if the first three seconds of a video don't immediately capture a view- er's attention, they scroll past, missing the depth of the work entirely. 3. Do you consider artificial intelli- gence a threat to your career, or an opportunity? At this stage in its development, I view AI primarily as a useful assistant rather than a direct threat to my livelihood. While it can handle certain technical or repetitive tasks with impressive speed, it remains a tool devoid of soul and human intuition. When a serious director or game developer embarks on a project, they are looking for an emotional core that resonates with their specific vision, which is something only a human collaborator can provide. The deep, nuanced thought process involved in a partnership—where a composer and director discuss subtext and mood—is what creates a truly pow- erful score, and that uniquely human connection is currently impossible for AI to replicate. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? I have gradually transitioned to a mind- set where discipline and professional- ism are far more important than waiting for a creative spark or a fleeting moment of inspiration. Ultimately, this is my pro- fession, and clients expect high-quality results regardless of my personal mood. If ideas aren't flowing, I proactively change my environment or approach; I might dive into the heart of a film by researching the music of its specific era or geographic location to find a new perspective. When the work feels overwhelming, I find solace in playing my upright piano at home. It is the same instrument I've played for years, and returning to it helps me reconnect with the pure joy of music that existed long before it became my primary career. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? I've been fortunate enough to work with collaborators who respect my expertise, but I always maintain a healthy perspec- tive regarding my role in a larger pro- ject. I am acutely aware that when I am scoring a film or a game, I am contrib- uting to someone else's 'baby'. While I will certainly advocate for my musical ideas and fight for what I believe best serves the narrative, I recognise that the director or developer has been with the project since its inception. They often have a deeper understanding of the final product's requirements than I do at that stage. I view disagreements as a natural part of a healthy creative process, keeping in mind that we both ultimately want the absolute best out- come for the project. 6. How do you approach a new pro- ject? Do you have a specific process or routine you follow? My workflow is highly adaptive and depends entirely on the medium and the stage at which I am brought on board. For films, my favourite method is starting with the script, which allows me to build a sonic identity from the ground up through extensive dialogue with the director. For video games, the process is far more interactive and non-line- ar; I often play a demo of the game to ensure the music responds organically to the player's actions. When collabo- rating with singers, I prefer to provide a solid musical foundation and a lyrical theme, but I leave the melody open for them to create. This freedom allows the performer to truly make the piece their own, resulting in a much more authen- tic and collaborative final recording. 7. Can you let us in on some of the future projects, works? My schedule is currently quite diverse, with several exciting projects running simultaneously. I am acting as the composer for a local short film slated for release later this year, and I am deeply immersed in creating orchestral arrangements for the 50th edition of L-Ghanja tal-Poplu. Additionally, I am continuing my col- laboration with the Los Angeles-based redCola Music Group, with several new tracks scheduled for release later this month. Between these professional commissions, I am also carving out time to produce and release personal music for Spotify and Apple Music. This variety keeps me creatively sharp and allows me to explore different facets of my musical identity at the same time. maltatoday | SUNDAY • 19 APRIL 2026 Theatre Jo Caruana on bringing five-star comedy String V SPITTA to Malta ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A CRAIG SALIBA 7 questions for... Extra round How do you balance originality with accessibility when composing mod- ern music, especially in a landscape where listeners have such diverse and rapidly changing tastes? When I am working on my own personal music, I try to detach myself from the pressure of universal appeal or commercial expectations. While it would be wonderful if every track was liked by everyone, I've realised that trying to satisfy every listener only sti- fles creativity and adds unnecessary stress. My philosophy is to write music that I am personally proud of and that feels authentic to my own artistic voice. I firmly believe that if the work is honest and executed with high quality, it will eventually find its own dedicated audience. Reducing that external pressure allows me to focus entirely on the craft and the emotion- al integrity of the music itself. Craig Saliba is a versatile Maltese composer and arranger who has become a prominent figure within both the local Maltese music scene and the international soundtrack industry. A double master's graduate from the University of Malta and the prestigious Berklee College of Music, Craig has built a diverse portfolio that ranges from traditional orchestral compositions to high-profile commercial work, including trailers for the epic production The Odyssey. Arts New exhibition by Carm Borg launches at Gemelli Gallery MaltaToday is supported by Arts Council Malta PAGE 2 PAGE 3