I hadn’t imagined when I first made the music that it’ll be such a huge success. But I was optimistic after watching the rough cut of the film that Danny Boyle sent me. A lot has happened since and the music has already won accolades. But honestly, I’m happier about the success of the film as a whole.
How did you get the film?
Danny had been tracking my music for some time. In fact, every time he liked a Bollywood score it turned out to be mine. So he planned to have me do a part of the project. But I told him that I’d either do it all or none. And he understood that I was asking for it because I could not put half a heart into the project and give him one score. I wanted to give it my all. Also, Anil Kapoor’s kids were instrumental in convincing the team to take me on for the project.
How involved was Danny Boyle?
To start with, I tried to see the film through his eyes. I found out what he does or doesn’t like about Bollywood films and their music. After an initial discussion, I e-mailed him four different ideas. He liked three of the four options; we then started interacting more. I kept sending him stuff and made a few short trips to London to meet him and finish the project.
You’ve pushed the envelope with 'Slumdog', giving it a racy edge.
There was stuff I’d wanted to do for a long time but could never try them in our film industry. When 'Slumdog' happened, I saw it as the perfect opportunity to utilise those ideas, especially since I’d been given so much freedom to experiment. I then added to the music elements that would surprise the audience. Indian audiences however, may find it too noisy. I don’t think I can ever use this kind of music for our films because Indians like to listen to music again and again and this may not suit their palate.
How did you manage to complete the music in three weeks?
Danny was also concerned about the same. You can say I concentrated the energy of three months into those three weeks. It was hard work indeed, and I didn’t touch any other project at that time. It worked because we all really wanted it to work.
Your work with artiste M.I.A. on O Saya is being applauded. How was the equation?
It was great. And, it all started with a joke. M.I.A. said, ‘You always do romantic and sentimental music and my work’s very edgy. Let’s do a role reversal.’ I then sent her the music online — she didn’t even know the track because though she was present for the initial sittings, she had to later return since she was pregnant—and she sent me her work back. We then mixed it all together and it worked fabulously.
What’s your opinion of the film?
After Bandit Queen, this is the first film I have so much hope from. I like the contemporary touch and the technical work is commendable. The spirit of the city has been captured very well though there’s more resemblance with Mumbai in the past.
Be it music, screenplay or storyline, a right balance has been maintained. When the film was being made, Warner Bros, which has invested in it, was not even supposed to release it—there was only a DVD release scheduled. But then the response was so great that they decided to take it across.
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