A lot goes into making a film beyond what we see on screen. While actors and directors make the most of the spotlight, many other actors and technicians, depending on the size of the production, work tirelessly on and off the set to complete a project. New departments are being created in addition to traditional costumes, music, cinematography, etc., as filmmaking develops around the world.
This News18 series aims to celebrate the off-screen stars, the people working behind the camera during production, as well as the various pre- and post-production jobs that are essential for a project to come to life.
The subtle background score of the lioness, the eerie sound of Ghoul, or the trippy tunes of Udta Punjab – composer duo Benedict Taylor and Naren Chandavarkar are adding to our film-watching experience with their behind-the-scenes talent. The contributions of these background artists become even more important with the OTT boom, where music is more of a narrative flow than a forced inclusion like a song-and-dance sequence. Some of his most recent work on the streaming platform includes the web series Paatal Lok, Betaal and the anthology series Re.
Naren lives in Mumbai, while Benedict, the famous violinist who is the wife of actress Radhika Apte, is from London. Despite being divided by distance and cultures, the two continue to string together the same tune that enhances the storytelling experience on screen. The duo spoke to News18 about the changing attitude of filmmakers towards background scores and the scope offered by OTT.
With the change in content, what is the attitude of the makers towards the background score?
Naren: The kind of projects that get greener has changed and we have the opportunity to do more on a larger scale, or projects that are reaching a wider audience and treat them with that kind of work and sensitivity. are what we have always wanted. The big thing that’s changing is that we’re allowed to express it, the kind of stories we can work on, the kind of projects that’s getting money.
Benedict: With the changing nature of songs or so-called film music, as opposed to background scores, I think the filmmakers’ minds would have changed somewhat and opened up about how people want to use the score, and the use of big and at some point short pieces of music, which may or may not be a song at first.
Has the OTT boom expanded your scope of work?
Naren: We have projects in the OTT space that are more mind-blowing and some that are more fun, like a horror film or something, which is very different from a series like Paatal Lok, which is again very different from a film like Lioness, Which is also different from projects like Ray. So I think we’ve been fortunate enough to be a part of this process, this wave or boom, or whatever it is, this new kind of storytelling, where we’ve had the opportunity to work on different projects, ever. Sometimes associate with that too, and it’s a lot of fun to sink your teeth into something that’s very different from anything you’ve tried before. Like the score of Abhishek Chaubey’s Hungama Hai Kyun Barpa in the Ray anthology is different from what we have done earlier.
Has Bollywood now recognized the importance of the background score and the composers who work on it?
Naren: With Indian cinema in general – if you look at Satyajit Ray’s films, for example and other independent cinema across the country – there are certainly films that have had a significant background score. Even in films from the 50’s or 60’s, and in many films throughout history. But in the more commercial space, songs have certainly become less of a part of a project’s storytelling or marketing. So his importance in making a film is less. In general, not only because of OTT, but earlier also there has been a shift in the direction of storytelling in film, towards more director driven and story driven work.
Benedict, being a British avant-garde violinist and violinist, how have you been able to keep pace with the Indian film industry and its workings?
Benedict: There is a huge Indian influence in the UK that our generation has grown up with. You certainly don’t know the ins and outs of these industries, but such things were not so surprising to me. I had spent time here before Naren and I started working together. We can do an Indian film, or a Canadian film, it doesn’t really matter. We are open to different types of music and cinema and take decisions based on what material we need to work with at a given point in time.
Does having a spouse in the same industry help?
Benedict: I think so. I’m sure I get the gist of the way things work because of that relationship (smiling).
How do you both bridge the physical distance while working, especially during the pandemic?
Benedict: I’ve also spent a lot of time in India, and I’m currently in London. We spent a lot of time in the studio, but we also spent a lot of time working remotely. We started the whole process from two continents. I was doing stuff in London and sending it to Naren, and vice versa. I think there can be quite an interesting driving force in this, there’s something magical about the way things work. We have been bridging this gap from the very beginning.
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