The more I compose, the more I know that I don't know it all. I think it's a good way to start. If you think you know it all, the work becomes a repetition of what you've already done. I try to make sure that I don't repeat my music.

I basically love classical music. I love a lot of musicians playing together and the whole culture of that, whether it's Indian or it's Western.

When you do something with a lot of honesty, appetite and commitment, the input reflects in the output.

That was a very different emotion and I felt Dido’s words would be good and I had a template with my voice in it. Then, when he heard it, he wanted both our voices together in it and that’s the scene when he sees the boy and then he gets charged to go on that final cutting effort.

My list would be Russia, Morocco, Turkey, and South Africa I’m doing which is somewhere I’ve wanted to go, Australia, Japan maybe, and China, if I have the energy to go and play at all those places.

I grew up on Bach and Beethoven and now I’m listening to more modern composers who I can’t even name. But since I’m constantly doing music, it’s difficult to have that quality time to listen to music and do classical stuff. That’s the only reason I’m thinking of going on.

That’s a sound design thing but then we wanted to do music that would not disturb it and at the same time drive it.

There were basically three themes. One was the sun theme which is the guitar when he’d get sun on his leg and it comes again in the end. And there’s of course the lullaby which Dido sang, “If I Rise.” And then there’s this driving guitar which is the motivation theme.

Certain things are done intentionally opposite – like there’s no sound at the end or synthesizers or all that stuff. Anything that drowns the movie, no. Anything that makes you sit up and watch it, yes. So, some are expecting a very sad theme going on.

I think I would like to discover a new root where people don’t get bored with people singing boring lines but something exciting. That’d be interesting.