Question: Who said he would compose original music for the show?
About the article "Amélie", section "Musical adaptation".

Candidate passages:
The score for the 1961 film was by the distinguished American composer Aaron Copland, who in 1964 re-used some of its themes in his symphonic work "Music For a Great City."
The original film score, taken from private session recordings preserved by the director, was released on CD in 2003.
Originally, Morton Feldman was commissioned to compose the score for the film, but when the director heard the music, he promptly withdrew his commission, opting to enlist Aaron Copland instead.
The reaction of the baffled director was said to be, "My wife is being raped and you write celesta music?
"The opening title sequence was an early live action title sequence created by Saul Bass. 
When composing for video games, Frank Klepacki spends a few days to compose and master one song on average.
He feels writing music for games is somewhat difficult as only early software builds are available to play; he sometimes must compose songs based on vague descriptions.
Composing for cut scenes is easier by comparison, and Klepacki enjoys drawing inspiration and direction from game design art.
Nonetheless, he prefers to compose for a game throughout its development rather than write songs for a finished product.
He feels that game music has been harder to compose than film or solo music as he must compose for all situations a player may discover or engineer.
Klepacki maintains templates with a base of common instruments prepared for sudden bursts of inspiration, as he resents "having technical issues...as an obstacle."
When asked how the composing process begins, Klepacki related:Klepacki has said that the most rewarding part of composing video game music is working with a team—which he compares to chemistry between band members—and knowing he is part of a greater cause.
He believes that game music could improve if artists focused on quality and derived inspiration from playing games.
He has expressed interest in having Electronic Arts sell his soundtracks in retail stores, preferably next to video games in electronic departments.
He advises those wishing to get in the video game business to attend conventions and investigate developer companies.
He also noted in 2008 that "composition and engineering skills are now required," advising upstart composers to ensure their work is film-quality.
Klepacki is happy to see older games offered on the Wii, hoping that gamers are "recognizing once again that simple, short fun experiences are just as good as...long, huge-production experiences."
Klepacki listed several influences for his style of composition: "John Williams naturally for my love of Star Wars and his style in general, Michael Kamen for his composing diversity, Metallica for sparking my metal influence, Vince Dicola who in my opinion is way under-rated for his great work, Sly & The Family Stone for inspiring funk, syncopation, and positive energy, Larry Graham for inspiring me to play funk bass, Nine Inch Nails for their unique uses of mangled sound, and Rob Zombie for combining music with a theme and persona.
"Klepacki runs a personal website featuring a biography, archived interviews, and a playlist of songs streamed in 128 kbit/s mp3.
His music is also available from iTunes.
As a "Star Wars" fan, he has extensively written about the film premieres of the last two prequels on his website.
He maintains an account at YouTube and has posted three videos of his work with other bands.
He is an ardent supporter of digital cinema, believing the medium to be the pinnacle of quality.
He has scored two short films, and won a CineVegas award for his work with "Unreel Invasion".
Klepacki believes that the genre of video game music is more respected than it has ever been.
He notes that complex and quality music comes at a higher cost, prompting certain producers to simply "get somebody who could cop the Hollywood sound" instead of nurturing original style.
When asked about his career low-point, he named "Order of the Griffon" for the TurboGrafx-16, citing difficulties with the system's limited musical capabilities.
Concerning his solo career and Westwood, Klepacki regrets "not having attended more of the fun company functions and parties while I was instead playing club gigs with bands with the mentality of trying to get signed or discovered."
When asked to reflect on his career, he replied:Klepacki is not seeking a record deal, citing a "horrible chain of steps to getting famous."
Scathingly critical of the recording industry, he blames MTV—described as a "teenagereality show channel"—for putting a pretty face on music and destroying the independent valuation of actual sound.
Klepacki has declared pop music as having become the "largest farce in music history—soul-less, mechanical, and only made for the sole purpose of making the fastest dollar possible, with more emphasis on imagery than the music."
He's also criticized lip-synching and the repackaging of music genre through different labels—such as Nu metal for rock music and Neo soul for soul music.
He believes that signing a deal does not guarantee profits, and would rather keep his day job as audio director.
These sentiments were echoed in a special feature on the band Home Cookin' in 2000—Klepacki said the group wanted to "work with a label, not for them."
Stating that he would not compromise his work for popularity, he believes that "the only artists that have any longevity are the ones that pioneer a movement—not follow one."
He enjoys working independently, as he does not have to "change...music for the sake of pop radio."
He champions the internet as a medium through which creative and original artists can be found.
Klepacki believes it is the preferred avenue for music when compared to radio airplay—where one hears "the exact same songs 3 months at a time."
When interviewed about file-sharing, he expressed mixed emotions.
Holding that compact discs are "just too damn expensive", Klepacki believes that a few dollars' reduction in price would "deter people from downloading for free."
Conversely, he notes that artists—who "don't get as much money as you think"—need to be compensated for their work.
His favorite artists by decade, starting with the 1960s, are Sly and the Family Stone, Graham Central Station, Metallica, Home Cookin', and Bob Schneider. 
The film's original music was written by French electropop musician Lionel Flairs, who performs under the moniker Flairs.
It was his first composition for film.
When he was approached by Sattouf to compose the soundtrack, Flairs was reluctant because he preferred total freedom when writing music, but after he agreed he enjoyed collaborating with Sattouf.
The soundtrack is less like Flairs's usual "happy pop" because Sattouf wanted a sad feel to reflect the sadness in the characters' lives. 
Due to "Hairspray"s financial success, New Line Cinema had asked John Waters to write a sequel to the film.
Waters reunited with director/choreographer Adam Shankman for the project, and songwriters Marc Shaiman and Scott Wittman were set to compose the film's musical numbers.
The story would have looked at Tracy's entering the late 1960s era of music and the British Invasion, and used the Vietnam War as a backdrop.
While no official casting was announced, New Line said that they hoped to "snag much of the original "Hairspray" cast."
John Travolta, however, publicly announced that he would not return because he is "not a big sequel guy".
The sequel was set for a mid-July 2010 release by Warner Bros., which owns New Line Cinema.
However in June 2010, director Shankman told British press that "Hairspray 2" is no longer in development.
Shaiman has also said that there will be no sequel. 
"Ustad" Zakir Hussain composed music for the film.
For the first time in mainstream cinema, he sang for one part of a song.
He said this in an interview and added that it was only after the track was recorded, the producers decided to go for Hussain's voice.
Rahul Bose, who introduced Hussain to Aparna and Konkona, was instrumental in influencing Hussain to compose the background score for the film.
The soundtrack consists of 5 songs: