The recording sessions were frantic and taxing. We were experimenting and constantly trying to improvise and better things. Sanjayji heard and liked several songs. None of my songs were rejected. And it's not about rejection. It was all about was sticking to the script. Slotting 10-12 songs in a commercial Hindi potboiler is no joke. So we selected the songs that were best suited the script. Eventually, 11 made it.

It was an enjoyable experience. After such a long time I have used acoustic players like violins, violas, chelos, double bass, sitar, santoor, sarangi and tabla. The work culture has changed. Earlier, everything was recorded together. Now, everything goes under separate tracks. Everything is recorded separately. So that makes it more time consuming.

Tell us about your rapport with Bhansali.

Sanjayji doesn't believe in compromising and for me, it's always about doing something extraordinary. It was only because of the creative liberty bestowed on me that I succeeded in giving my best.

There were suggestions he felt strongly about. He was actively involved in the making, constantly giving his creative inputs and ideas. So it was about both of us convincing each other to arrive at the best possible outcome.

How does he go about his music? How does he zero in on singers?

Sanjayji is very passionate about music, just like his sets, actors, script etc. He is choosy, and takes his time (to make decisions). He is always on the lookout for something classy and unusual. The grandeur and extravagance is evident in his films. He is not one to compromise until he gets what he wants. His music is very script-oriented.

As for singers, he never decides himself. He has always consulted me and asked me for suggestions. He always discusses with his music directors if he should go ahead with a particular singer.

Also read: Listening to Saawariya

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