Asking Subhash Ghai about his decision to venture into music composition with 36 Farmhouse could be done in two ways. One, we ask him why he decided to turn composer. Two, we ask him why he decided to turn composer, so late. Anyone who has followed the filmmaker’s work understands, and appreciates, the importance he pays to music. After all, wouldn’t we have felt a void if Indian cinema didn’t have musical masterpieces like Taal and Pardes? In this joint interview with long-time collaborator Sonu Nigam, who has sung Mohabbat in 36 Farmhouse, Ghai takes the mic.

Ghai: I would listen to composers. Hearing a song is one thing, but understanding the art of singing is crucial. I learnt from Kalyanji Anandji, Laxmikant-Pyarelal, and AR Rahman. I noticed how they compose and make [music] better. When I write a film, I script its music too. So, when I discuss it with the composers, they understand the director’s vision. An integral part of the score is always scripted. It is not like picking up any song and adding it anywhere. Just like you need a good actor for the role, you need a performer who can sing the track correctly. I have experimented a lot. For instance, for the track Nahin samne (Taal) we [appointed] eight artistes. Sukhi (Sukhwinder Singh) had already sung Ramta jogi, so we needed another voice. But we struggled with the right voice for the rendition of the word ‘priyasi’. Finally, we locked Hariharan, but had Sukhi render the word ‘priyasi’. Having specialists who know how to deliver, is important.