The road leading to Santhosh Narayanan’s studio might be a rough one, but the experience inside the space is anything but. An empty patch of land opposite his house is turned into a parking spot for his boat which he got during the floods, and those who step into his studio are welcomed by his two puppers as we sit down next to his audio console to talk about Kalki 2898 AD, arguably his biggest project in terms of scale. Excerpts from a conversation: Adi Tala’s Adi Parva “I think they had shot Kalki for almost seven to eight months before I got on board.
When they got in touch, my first question was ‘Why me?’ and director Nag Ashwin told me he loved the album of Cuckoo ; I was very happy to hear that. He told me he needed a soulful album and there’s space for the epic-ness given the film’s story. While I was given a free hand with the epic aspects of the film, the soulful parts are something that will also carry over to the sequels.
The ideation process involved creating different worlds; like Kasi, Shambhala, the Lab and the Complex. I have a folder called World Boxes, and as we came up with tracks, we segregated them based on these categories.” ALSO READ: ‘Kalki 2898 AD’ movie review: Prabhas and Amitabh Bachchan shine in a visually stunning drama “Sumathi (played by Deepika Padukone) is the central character and her theme was the first one we tried to crack.
It had to share the film’s epic nature while also showcasing her loneliness. Then we built a.