Mithoon is refreshingly invested in this conversation. Unlike interviewees who are easily distracted during telephonic interactions, the composer is attentive, and eager to express, when prodded on his working methods. His razor-sharp focus, we assume, would make him a terrible multi-tasker. On the contrary, Mithoon has been juggling a gamut of projects with panache. “Be honest to the moment,” he says, when we ask him his secret. In this conversation, he reveals some more.

Edited excerpts from the interview:

I have different [elements] that need my attention. If I’m waiting on a melody, I need isolation, and must be disconnected from people. That process can take several days. But, if I’m recording, I can be part of multiple sessions at one time. Because, in this case, we have written, and arrived at the idea. I know what has to be done. But, what is important is finding the right emotion for a song. Having my own studio also makes things easier. If I am honest to the moment, I don’t need to carry the burden of tackling different genres. For instance, if I’m talking to you, I am honest to this conversation. Composition is like having a conversation with music. Also, a director’s energy is infectious for a composer. When I jam with Mohit Suri [for Ek Villian], his intensity reflects in the soundtrack. For Anil Sharma, the Gadar 2 soundtrack is a reflection of how epic he wanted it to be. The director-composer equation is crucial. Lakshmikant-Pyarelal wouldn’t make for any other director the kind of music that they made for Subhash Ghai. A R Rahman and Mani Ratnam also had a similar [relationship]. I believe in that formula, and respect it. 

The character. When I was composing for Ji Huzoor [Shamshera], I wasn’t thinking of Ranbir. I was thinking of the character, Balli. And that inspiration came from [director] Karan Malhotra. He spoke of how Balli walks, talks, and acts. The character is bigger than the actor. 

I don’t have a song bank. I am always looking to understand what the director wants. Also, there are different raagas, time-stamps, and key signatures. There are different raagas for the day, and I try to follow these [rules], because they were made for a reason. For example, if I talk of the bhairav raag, it’s a raag associated with the morning. It is scientifically connected to that time of the day. In Satyam Shivam Sundaram, the raag was suited for the morning, in accordance [with how it was shot]. It’s an important science associated with the human physiology. Also, I always say that a song should be written without production. I played Ji Huzoor to Karan on the piano. The song is actually a heavily produced one, with 120 elements. 

I’ve never done something like Shamshera. Meeting Karan was a life-changing experience, even at a personal level. The joy and vibrancy that he brought into my studio was refreshing. He would come in, call for tea, and spend an hour chatting with me. I am a silent person. But he was [affecting me] on a sub-conscious level. His Shamshera character, Balli, is [outspoken]. So, Karan wanted me to be brash, like Balli. I enjoyed that experience.