'Toby posed challenges due to its grand nature and scale'

Director Raj B Shetty is a filmmaker who enjoys guiding his technicians throughout their journey. He has stuck with his music director Midhun Mukundan and cinematographer Praveen Shriyan since his first film. Just like Raj, who gained attention with unique plots in Ondhu Motteya Kathe and Garuda Gamana Vrishabha Vahana, his composer and DOP excelled in their own ways. Now, the trio joins hands again for Toby. In a conversation with CE, both Midhun Mukundan and Praveen Shriyan discuss what sets Toby apart from their previous collaborations.

While the songs of Garuda Gamana... are still being lauded by the audience, Midhun Mukundan is now ready for Toby. For starters, I asked him, what makes composing music for a Raj B Shetty film unique. “Raj makes everyone on his film team feel like it’s their project. He gives us ownership without saying it. Surprisingly, for Toby, he didn’t narrate the script to us, he just gave us the first cut. And, the first cut is final for Raj and DOP Praveen Shriyan. He asked me to work on the compositions based on the cut and explain the story through music. He trusts my creativity, and it leads to a unique work relationship. I prefer working alone when scoring, and even without constant communication with Raj, I understand his vision when I see the film.” he says.

“The tune Maari ge Daari from the trailer, more or less captures the essence of Toby’s music”, reveals Midhun Mukundan who describes the music as gritty, intense, emotional and grand. and shifts between anger and softness. “We aimed for a massive scale with Toby, and this was a challenge. My focus is connecting the music to visuals and the story’s context, in sync with Raj’s direction and Shriyan’s cinematography. I would even suggest them to listen to the music alone to gauge the vibe,” explains Midhun, adding, “Toby posed challenges due to its grand nature and scale. The film’s enormity and story made it heartwarming to see the result. I’m eager for audience reactions.”

Raj B Shetty doesn’t consider Praveen Shriyan as just a cinematographer. Their journey began as friends and they set out together in the cinema adventure. “He has never drawn a line between us as cinematographer and director,” says the DOP, underscoring that this collaborative journey has breathed vivid life into his frames. “When it comes to envisioning scenes, we’re in sync about 98% of the time, thinking alike and visualising together.”

Like Ondhu Motteya Kathe and Garuda Gamana Vrishabha Vahana, Toby also has its backdrop in a coastal setting. Does this backdrop assist the cinematographer in capturing the essence of the coastal landscape? “Our visualisation naturally aligns with the story, adapting to the suitable locations,” he explains. How does the approach to cinematography shift with Toby compared to previous films? “My approach adapts to the very material of the film. Raj is the one who chooses, and the visuals are steered by the narrative. I prefer to immerse myself in the script rather than the characters. Raj’s writing is incredibly precise, which facilitates the visualisation process,” he shares.

Toby is a mass subject that gives scope for distinct visual dynamics. “It’s a fusion of music integration and scene composition; the story plays a pivotal role in the visual narrative, while the characters take it to new heights,” says Praveen Shriyan. He continues, “The script shapes the treatment of scenes. With Toby, we’ve leaned more towards commercial visual treatment, diverging slightly from a realistic approach. We’ve incorporated stylised techniques and extreme slow-motion, ushering in visual transformations. For the first time, we used a phantom camera for slow-motion, adding a commercial flair.”

There’s a particular moment that holds deep personal significance for Praveen. “The choice between distant and close-up shots hinges on the emotional weight of the scene. Selecting the right lens carries immense importance,” he concludes.