(From top) Rakeysh Omprakash Mehra, Milkha Singh and Prasoon Joshi

Prasoon Joshi is a man of a million words when it comes to writing songs but scripting Bhaag Milkha Bhaag was on a very different track. The adman has written the script, dialogues and lyrics (Sony Music) to bring alive the inspirational years from the life of the Flying Sikh. A t2 chat.

Zinda has caused quite a buzz in Bollywood. Is this your favourite track in Bhaag Milkha Bhaag?

It definitely captures the philosophy of the movie… carpe diem — seize the moment; seize life… it’s an attitude-driven song. But it’s the title track that’s very important to me. There is meaning behind the title. I have dealt with eight-nine years of his life. Beyond that I haven’t delved into his personal life. It’s a story that inspires and not a documentary of a sportsman. I wanted to explore the man behind the man who runs.

Bhaag Milkha Bhaag must have been a creatively satisfying journey for you?

As a writer it was a very satisfying process. There is this life (Milkha Singh’s) and I had to get inspired by it and interpret it. And then there are situations for which there is no explanation. For example, he used to run very fast and he did it constantly. There were moments he would faint. One simple explanation could be that he used to put in a lot of energy into running. Another interpretation could be that he was at the point of no return and every race he ran was the last race of his life… it was all that he had.

When the same person writes the script, dialogues and lyrics, the process appears smoother and easier. Your take?

No, it is difficult. The challenge before me was how not to repeat myself. I had already written about the characters, the scenes, the emotions around them. Song-writing requires another dimension. Every song is an extension of logic. If somebody can step inside another person’s subconscious and effortlessly become a part of that person, then that feeling becomes a song. I think I have been successful at that.

We are living in an era when our vocabulary has shrunk. Does that put a strain on the writer of songs and dialogues?

The style behind dialogue-writing keeps changing. I have used a minimalist approach. Earlier there was always an audio supply. Earlier the dialogues were more theatrical and loud and even emotions were announced. But now we live in an era that has been influenced by the West. And cine-goers have been exposed to other cultures. Films are becoming more visual than before; one can rely on expressions rather than dialogue. We have become more direct as a society. Before, it was not easy for a girl to say ‘I love you’. And you had to take the help of songs to express emotions... and flowers had to come together! Now it’s more direct.

How is it working with Rakeysh Omprakash Mehra?

I finished the script and passed the baton to Rakeyshji. We share a great working relationship. I can fully trust him with my script; he was my bouncing board while writing. He is the one who drove the script. The only project that comes close to this is Rang De Basanti in which I had written the dialogues.

Next up is Prakash Jha’s Satyagraha. Is that also a unique project?

The unique thing about Satyagraha is that it has five songs by five music directors. Also, I had written a poem (Itna Kyun Sote Hain Hum) against corruption (in 2011), which became popular. Prakashji wanted it. Subsequently, I ended up writing the other songs.

Away from films

Book buzz: I’m reading Vikram Seth’s translation of some Chinese poems (Three Chinese Poets).

Ad watch: I’m enjoying the ad I have done for Coca-Cola (‘Khushiyaan lutao, crazy kehlao’ campaign). A different language has been used for a cola brand. The ad asks why can’t a person make another person happy?

Mathures Paul
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