Making of Manzoor-e-Khuda | Thugs Of Hindostan | Aamir, Katrina, Fatima | Ajay-Atul, A Bhattacharya

Manzoor-e-Khuda comes at a very
important position in the screenplay. Manzoor-e-Khuda is a song
which is like a huge-scale song… …and it’s a song which
is very interesting because… …a lot of layers going on in it. First, of course is the upper
layer where, which is of Suraiyya. It’s one of those really uplifting,
grand, huge production… …huge orchestra, huge composition… …it’s one of those classic type
of numbers. We are people who know
how to smile. We take pride in our sorrows too. We all wanted to create
a song that isn’t seen… …or heard nowadays in
the Hindi film industry. It is God’s will. Two things were very important –
the feeling of Hindostan… …and the notoriousness of the Thugs
to come through in the score… …and then we brought
so many rhythmists… …we used so many percussions. It’s the biggest orchestra
we’ve ever used in our life. Not just orchestra,
the rhythm section… …not just the rhythm section
even the chorus. It is God’s will. We wanted that edge –
thousands of people singing… …that kind of sound we wanted
and it came out awesome. It is God’s will. Orchestra will make it bigger,
it will make it large… …but it was important to get
the emotion in it… …and I think Sunidhi was the best
for the singing. Her first recording after her delivery,
ya, that was so sweet. How are you? The power that the song has
and the lyrics… …and the moment that the hook line
comes, Manzoor-e-Khuda… …it just makes you feel elevated
from wherever you are… …just gives you that feeling
of flying and pain and everything. When I heard Manzoor-e-Khuda… …the song reached straight
to my soul. The canvas, the speed, it’s aura,
I haven’t heard before. It is God’s will. Woah! It’s in my veins now. Chinni Prakash I think have
a very specific vision… …and scale they bring
to all their songs… …when they are doing the song… …there is a certain classic grandness
to it which comes in. We had about 350 dancers
and then the crowd… …and then the b-boying guys,
about a 100 b-boying guys. So totally a group of about 350-400
people performing everyday. The falcon or the eagle is a motif
in the climax song. So that has been used in the song. Where the dancers create
this massive eagle… …which is moving towards Clive… …and I think one more motif that… …Victor used repeatedly
in the film is human pyramid. There’s a part of choreography which
involves knee-spins on the floor… …but when we were rehearsing it
of course you rehearse with knee pads. And what you don’t realise
is that there’s a certain slide… …which the kneepads give you which
give you that little bit of extra speed. So on the day of the shoot you
of course can’t have kneepads… ’cause of the outfit which I’m wearing. So of course I suffered
a bit of an injury there… …so that took me a while
to get through… …and that was something
that was challenging. Until we achieve our goal,
our hearts will not stop beating. It is God’s will. It’s not just a song,
it’s a visual treat… …it’s a grandeur song,
it’s a complete package. It was something which
I hadn’t done before… …when I saw it, it looks
very beautiful and very graceful… …and just that kind of dancing
is something which is nice to see… …you feel good when you
watch it. Manzoor-e-Khuda will be one
of the songs in this film industry… …that will write it’s own history.

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