“You want to reach for the panic button with Naina!” 
By IndiaFM News Bureau, May 13, 2005 - 06:17 IST
Just as they were going to be labeled as specialists of songless thrillers, Kaal happened. And you got to give it to them, the duo did create some serious dhamaal. And now they are back to their niche slot of scoring music that is novel, edgy, & 'folksy'...yeah, the brothers like to hang on to that one. We talked to Salim, one half of the Salim-Sulaiman composer duo who warns us for some cold fear this Friday…
Tell us the first thing you felt when you heard the score of Naina?
It was interesting; because the first time we played it back for ourselves, we thought it was scary! It's not often that once you have created a music piece, it scares you. But it happened with Naina. There are certain music pieces in the film that really frighten your senses and you want to reach for the panic button! I can safely say that we touched Hollywood standards with the effects that you'll get to hear.
Did you consciously try to sound unlike Bhoot?
If it had been any other film, we probably would have had to do what you said. But in this case, the script of Naina was very unlike Bhoot, so not much effort there.
So what does Naina sound like?
There are certain sound and shock effects that are a mandate with this genre but since the theme of the Naina was different, the color of sound is different too. And most importantly, Naina as a film travels from London to Kutch so that gives the music a huge music palette, from western flavor to the more folksy stuff.
Is there anything new that you tried with Naina?
For sure. To begin with we used a slightly bigger choir, as in there were 8 people who were doubling and tripling. Now this amplifies and gives the impact of 32! Also since the film travels from London to rural India, it gave us the opportunity to use Ustad Sultan Khan's sarangi.
One another thing that made composing for Naina special is that we got the chance to work with a talented Gujrati singer like Shubha Joshi. She has a strong folk flavor to her voice and we used her alaaps for the bands that needed pain and a sad element. This gives a real twist to Naina.
How was Shripal to work with?
Very nice, he gave us complete freedom to do our thing. We have worked really hard and Shripal had complete faith in our hardwork. So composing was a breeze!
Finally, a music piece that you think was impressive?
I quite like what we have done for Being Cyrus. The film is yet to release but we had good fun scoring for it.
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