Hesham Abdul Wahab Interview: 'Kerala Crime Files 2 has opened bigger doors for me'
In cinema, we often see actors talking about stereotyping since this tendency to be boxed into a particular kind of role hampers their desire to be versatile. Interestingly, these concerns extend to technicians as well. One such person is Hesham Abdul Wahab. The composer, who often operates in the feel-good space, is currently ecstatic about breaking the shackles with Kerala Crime Files 2 (KCF 2), an investigative thriller series. "I've always loved the thriller genre and enjoyed working on them. I've worked on films like Chuzhal, Ini Utharam, and the first season of KCF. The reception for the new season has been highly encouraging, and I consider it a validation of all my efforts. It's a massive confidence booster as I feel I don't have to prove my versatility anymore," says Hesham with glee.
As the JioHotstar series continues to garner a largely positive response, we discuss with Hesham the added scope for music in the second season, its emotional layers, and his career in general.
Excerpts
After doing a string of rom-coms and feel-good stuff, how do you enjoy this new genre shift?
I was quite tense because a lot of thriller films and web shows are being made today. I was anxious about how to make something distinct amidst this, and still create an impact on the audience. I should credit Ahammed's (Khabeer) direction and Bahul's (Ramesh) brilliant writing, which ensured an emotional connection with the audience.
Bahul, who also wrote Kishkindha Kaandam, has the practice of listening to background scores while scripting. Were you given any of those references while composing?
Yes, we had some references. Before the shoot, we also composed a couple of theme tracks to assist Ahammed while directing. But they were all reworked after I saw the footage, as the music had to be in sync with the visual language and the emotions.
It's a common practice today to have references. For my recent Tamil film Maaman, I composed the songs after seeing the visuals, which were shot using reference tracks. At the same time, there are also films like Kushi and Hi Nanna, where the songs were ready much before the shoot.
Web shows usually maintain a distinct visual tone in their recurring seasons. Did you try to retain anything like that on the musical front?
In music, we generally use motifs—a particular musical piece that comes repeatedly in the film to remind a character or an incident. Though KCF 2 is entirely fresh and doesn't have any motifs from the first season, I've composed a piece for the protagonist, which repeats at various points till the end. I approached KCF 2 like an international work, following a certain scientific method of scoring for films without any songs. I wanted the background score to have a discipline usually seen in Hans Zimmer and Ludwig Göransson's works.
As compared to the first season, the new instalment has a stronger emotional heft, which has resonated with many. Did it offer you extra scope as a composer?
Yes, and I think that's the reason for such an extraordinary response. It's Bahul's brilliance to identify a potential plot around pets, which is a universal emotion. I've built a violin theme around the dog and the antagonist, for which Govind Vasantha played the violin piece. With such immense possibilities for music, I wanted to ensure my contribution is also there in this show.
What do you think was the most challenging part of scoring for KCF 2?
One of Ahammed's primary instructions was that the score shouldn't be overtly loud, which I stuck to till the very end. You can see a flamboyant score only towards the end sequence in the final episode. But even then, we tried not to make it sound inspirational because that's not what we are trying to communicate. We're following a traumatic person and we are not supposed to glorify his actions. So finding that space somewhere in between was a huge challenge.
The overwhelming response for Hridayam helped you cross borders, but since then, expectations have also been on the rise. How do you handle the pressure?
More than pressure, I consider it an inspiration. The expectations only push me to work harder and deliver something fresh each time. When I return to Malayalam cinema after a good run in Telugu, I feel I have to be more choosy. Since I put in the same effort for each project, I've decided to take up only those with the potential for a wider reach. KCF 2 is the best example of working with the right team. I haven't been able to put down my phone ever since its release.
With Malayalam cinema largely moving away from the song-dance routine, do other language offers excite you more?
Malayalam cinema's ecosystem is entirely different from other industries. From the kind of subjects we attempt to how actors choose projects and the audience's preferences, everything is different here. In Telugu, a film is conceived with 4-5 songs by default, but we have moved past that in Malayalam. The audience has moved on from the times of, say, a Chotta Mumbai or even a Hridayam, which was a revolution in itself. This will keep changing.
I'm happy composing 4-5 songs for each film in Tamil and Telugu, but I'd prefer to be choosy in Malayalam. KCF 2 has opened bigger doors for me, and I'd rather wait for something exciting to walk in.
While working in other industries, is there an added emphasis on creating music that caters to the social media crowd?
It has become a necessity now everywhere, not just in Tamil or Telugu. It's a new stress that we have to deal with, but you have to understand that not everything can go viral. You can never predict what will work, so it's better to be sincere and deliver your best. I never expected the 'Bougainvillea' piece from Hi Nanna to become this popular, but it now fills my heart to see it on international reels. I think the key is to stay true to your roots and believe it when they say, 'local is international'. I love composing Hindustani and Carnatic music, which comes naturally to me. I feel I connect better with people when I don't force anything.
You recently adapted 'Pottu Thotta Pournami' from Hridayam to Tamil for the film Maaman. What inspired that choice?
'Pottu Thotta Pournami' was one of the reference tracks they used while shooting. The makers wanted me to compose something similar, and that's when I suggested revamping the track. Since the director, producer, and the music label (Think Music) were already keen on having that song, they instantly agreed. I was also excited because you rarely get to revamp your song in another language. Shwetha Mohan sang the new version, and I also made some minor tweaks, like replacing the saxophone with a flute to suit the mood of this film.
You were supposed to be the composer for the Anoop Menon directorial starring Mohanlal, but there have been no updates about it...
I think the project is stalled as of now. I've no idea how it's going to go forward, but I hope it happens sometime in the future.
What else is coming up?
There's Arjun Das' Once More in Tamil, Rashmika Mandanna's The Girlfriend in Telugu and my Kannada debut lined up. I'm also composing for Arjun Das' debut Malayalam film, which is once again directed by Ahammed Khabeer. It's my first pure love story after Hridayam.
Do love stories make you feel at home?
Right now, it's the opposite of it (laughs). Since I explored a lot in that genre for Hridayam, it's a challenge to deliver something new again. I'm a bit lost, but I need to break that.
So what are you most comfortable with now?
Thrillers. I'm embracing my love for thrillers and exploring more possibilities in that space.