R Balki impressed by Aman Pant's sound of silence !

The murderer is an artist painting in a art gallery  his subject, a critic. The music takes an original SD Burman score to orchestral heights. The sound of the projector accompanies by the sound of wood blocks with the haunting urumi replacing the saw, adding to the chill. The scene mesmerises, the music haunts. This is simply one chip from R Balki's Chup where Sunny Deol looks at the work of Dulquer Salmaan who has murdered a victim. What could be the thought of this deranged mind, he wonders alongside audiences.
Elsewhere, the duo of director R Balki and music director Aman Pant love the out of context sounds that  paintin poetry on celluloid.
It took the enthusiasm of music director Aman Pant to attract the attention of filmmaker R Balki who got him to come on board for his critically acclaimed romantic thriller Chup. The original background score was a treat for any musician as  the myriad moods of the killer, the oscillation of the script from romantic to chilling to melodramatic was a very exciting creative process.
“I love the enthusiasm of Aman Pant. His ability to think out of the box and to use music out of context like, for example, instead of using a siren in a score, to create the same feel  using music of instruments like the urumi  is exciting,” says R Balki, who has credited Aman Pant as music director alongside original background score. “To me, original background score is music composition, hence he deserved the credit,” avers Balki.
Composer Aman Pant, however, is as humble as enthusiastic. “It was a great learning experience working with Balki sir. He works with ease and trusts you. Balki Sir gave the idea of the projector, the wood blocks... and welcomed my suggestions as much. There is a give and take, and he is so warm and receptive that you deliver without the pressure. The background score was an exciting process. Besides the urumi, we have used the sound of wood blocks, the sound of projector and orchestral music which I specially recorded in Budapest complete from cello to violin, each lending its soul to the music.”
Balki admits that though he loves the recreation of SD Burman’s music with the cello and orchestral portions, what really touches his heart are the romantic pieces and those pieces that support the main score to stand up. “Every piece has its own significance as it encompasses a sliver of the creator. It is the combination of all of these that create the desired impact.”
Says Aman, “To me, Balki Sir’s faith mattered and his creative contribution was immense. And you can say God was with us. Like when I thought of the urumi, I went to my studio and started making calls to find the instrumentalist, I actually heard the sound next to my studio  There was a woman with a child, actually playing the instrument. We recorded her instantly. Balki Sir loved the sound, and then, one by one, every piece began to fit together to create the score. It was about just the right click with director Balki Sir.”
 Balki smiles at the compliment. “Aman Pant makes the musical score process seem effortless, and therein lies his success.”