How
many
of
us
ever
thought
that
a
Bollywood
film
would
have
music
by
a
complete
foreigner?
Well
that's
exactly
the
case
with
the
film
Road,
Movie.
Famous
Canadian
Guitarist,
Michael
Brook
has
given
background
score
for
Dev
Benegal's
Road,
Movie.
Michael
has
contributed
to
U2's
famous
album
The
Joshua
Tree
in
the
form
of
his
invention
-
the
infinite
guitar
and
was
also
nominated
for
Grammy
Awards
in
1996
for
his
production
work
and
as
co-artist
on
Pakistani
singer
Nusrat
fateh
Ali
Khan's
album,
Night
Song.
Apart
from
these,
he
has
also
contributed
for
the
album
Rock
Paper
Scissors.
While
for
Hollywood,
Michael
has
done
a
number
of
film
sound
tracks
including
the
music
for
Albino
Alligator,
Mission
Impossible
2,
Al
Gore's
An
Inconvenient
Truth
and
Sean
Penn's
critically
acclaimed,
Into
The
Wild.
This
correspondent
spoke
to
Michael
to
find
out
more
about
his
compositions
and
of
course
his
experience
of
working
in
Bollywood.
The
first
question
on
everyone's
mind
is,
how
did
Bollywood
happen
to
you?
I
had
some
connection
with
the
producers
from
the
past,
and
I
believe
that
Dev
Benegal,
the
director
was
aware
of
my
music.
What
made
you
sign
Road,
Movie?
A
combination
of
the
beauty
and
emotional
resonance
of
the
film
and
Dev's
deep
musical
knowledge
and
creative
ideas
was
enough
cause
and
reason
for
me
to
say
yes
and
sign
the
film.
What
according
to
you
is
unique
about
its
background
music?
I'd
say
that
the
dominant
aspect
of
the
music
is
that
it
is
quite
distinctly
non-Indian
and
strongly
influenced
by
African
music.
This
was
Dev's
concept
to
try
and
create
an
exotic
but
non-specific
atmosphere.
So
in
a
way
yes
this
is
some
unique
kind
of
music.
From
making
music
for
popular
bands,
creating
breakthroughs
like
inventing
the
Infinite
Guitar,
to
making
music
for
Hollywood
big
wigs
to
Bollywood
now,
how
has
the
journey
been?
Pretty
good
really.
I'm
extremely
lucky
to
be
able
to
do
what
I
love
to
do
and
to
earn
a
living.
It's
a
very
privileged
position
and
I
appreciate
it.
Also
having
a
2
1/2
year
old
son
is
an
equally
rewarding
experience.
Tell
us
about
your
experience
of
Bollywood
now
that
you
have
had
a
first
hand
taste
of
it?
I'm
not
sure
that
I
really
experienced
Bollywood
as
all
of
the
work
was
done
in
my
studio
at
home
and
we
didn't
have
the
big
dance
and
singing
production
numbers.
Maybe
my
cliched
view
of
Bollywood
is
outdated.
I
have
however
played
a
concert
in
Chennai
with
Mandolin
U.
Srinivas
and
we
did
rehearse
in
some
of
the
film
studios,
which
was
a
very
cool
experience.
How
different
is
Bollywood
from
its
western
counterpart?
My,
again
possibly
not
quite
valid,
impression
is
that
Bollywood
filmmaking
is
much
more
spontaneous
and
improvisatory
than
Hollywood.
But
I
gather
that
Indian
films
are
getting
larger
and
more
structured
in
their
productions
and
that
some
film
e.g.
District
9,
are
being
made
more
through
an
improvisatory
process.
What
was
the
biggest
challenge
while
doing
the
music
for
an
Indian
film?
A
big
challenge
was
in
trying
to
be
other
worldly
without
being
unfocussed
emotionally
with
the
score.
Was
the
language
a
barrier?
The
challenging
part
was
that
I
don't
have
the
same
cultural
history
as
Dev,
or
probably
most
Indians,
and
so
some
aspects
of
the
film
had
a
different
resonance
for
him
e.g.
Scherazade.
You
have
also
worked
with
Nusrat
Fateh
Ali
Khan,
how
did
that
come
about?
I
was
asked
by
Peter
Gabriel
to
work
with
Nusrat,
probably
based
on
what
Peter
heard
in
my
first
solo
record
Hybrid.
When
I
was
in
Pakistan,
about
12
years
ago,
I
saw
some
really
great
singers
at
a
concert,
but
I
really
don't
have
much
awareness
of
what
is
going
on
there
now.
So
what
are
your
future
plans
about
Bollywood,
does
it
look
promising
and
would
you
like
to
do
more
work
here?
I
don't
have
plans,
but
certainly
would
love
to
do
more
projects
with
Bollywood.
Do
you
think
there
is
now
more
interaction
between
the
Asian
and
American
/
European
markets
than
before
or
is
it
just
the
'Slumdog
effect"?
I
think
that
there
has
been
a
gradual
increase
in
awareness
of
the
richness
and
depth
of
Indian
culture
over
the
last
40
years.
Slumdog
gave
a
kind
of
turbo
boost
to
that
process
and
I
hope
that
it
continues.
You've
composed
scores
for
Mission
Impossible
2
&
Al
Gore's
An
Inconvenient
Truth
too.
Can
you
share
some
special
moments
from
these
experiences?
These
two
films
are
probably
at
opposite
ends
of
the
spectrum
of
my
experiences.
Both
were
good.
On
MI2,
I
was
part
of
a
very
large
team
assembled
by
Hans
Zimmer.
It
was
great
to
work
with
so
many
people
and
I
really
enjoyed
the
kind
of
community
of
musicians
and
composers
that
I
was
part
of.
AIT
was
a
much
more
delicate
and
solitary
process,
a
great
deal
of
which
was
trying
to
figure
out
where
music
should
go.
It
turned
out
that
we
couldn't
really
have
music
when
AL
Gore
was
lecturing
as
it
made
it
seem
propogandish.
So
there
is
only
music
when
he
is
talking
about
his
life
or
events
outside
the
lecture.
Having
invented
something
like
the
Infinite
Guitar,
you
must
have
a
thing
for
instruments.
What's
your
favourite
Indian
instrument?
My
two
favourite
Indian
instruments
are
the
Shenai,
particularly
when
played
by
Bismallah
Khan,
and
the
Veena.
Which
one
(Indian
instrument)
have
you
used
the
most
in
Road,
Movie?
We
didn't
use
Indian
instruments.
The
background
score
is
one
of
the
most
important
characters
of
any
film.
Which
film's
background
score
has
impressed
you
the
most
till
date?
Recently
I've
come
to
appreciate
the
work
of
David
Newman
in
his
many
scores,
Wall-E,
American
Beauty,
Cliff
Martinez,
Solaris,
and
of
course
the
early
work
of
the
great
Ennio
Morricone.
More
recently,
I
thought
that
the
score
to
Sherlock
Holmes
was
really
good
You
must
have
been
one
of
the
first
people
to
see
Road,
Movie
-
what
was
your
reaction?
My
first
impression
was
of
stunningly
beautiful
imagery
and
rich,
intriguing
characters.
Did
Abhay
Deol
impress
you
as
much
as
Tom
Cruise?
Undoubtedly.
Which
other
Indian
artist
(Music
or
Films)
have
you
been
introduced
to
and
like
hearing
or
watching?
I
have
been
enjoying
The
Bombay
Connection
Volumes
1
and
2,
collections
of
music
from
Bollywood
films
of
the
60s
and
70s.