Dum Maaro Dum – Director's Note

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Rohan Sippy, the director of Dum Maaro Dum had earlier directed ‘Bluffmaster’ written by
Shridhar Raghavan. He says “Shridhar loves playing with twists in the tale. I really enjoy the
rollercoaster ride of his scripts and when this story was presented to me, it gripped me
instantly’. Rohan mentions that he likes all genres, but was keen to experiment with something
completely new after Bluffmaster, which was a dark-hearted con comedy. He says ‘ Both my first
two films have had very different stories. Each experimentation challenges me a little more and
I hope makes me a better storyteller’.
‘Dum Maaro Dum was always meant to be an edgy thriller, but it has a strong emotional
quotient as well, which I hope will broaden the appeal of the film’, says Rohan.
‘Shooting in Goa was fairly frenetic, and we had long, hot days, shoots canceled due to cast
falling ill, scrambling for last minute locations, the usual drama which accompanies every shoot,
which no amount of prep can circumvent it seems, but the camaraderie between the crew really
helped carry this film through. From our DP Amit Roy, who is always in guerrilla filming mode,
to our production design team CROP, which consists of talented NID artists, our art director
Shazia who was rising to the challenge of last minute briefs and execution, our costume designer
Falguni Thakore who imbibed the Goan vibe in the clothes with such efficacy, our gentle sound
recordist Manas Choudhury who would find a way to get his sync sound, tackling crowds, roads
and every kind of ambient noise , our Line Producer Garima Mehta, who held the fort down
amidst all the chaos; they collectively captured the look and feel of Goa in all its colors and
vibrancy. I must also mention my director’ assistant/script supervisor Amit Raj, who has proved
to be a valuable bouncing board.
We shot mostly exteriors from Baga to Morjim, from Candolim to Panaji, from the beautiful
beaches of Aswem to the hippie chaos of Arambol, to the creek of Siolim, to the streets of
Ribander lined with heritage houses. We recreated a moment from the carnival. ‘One of the
best sequences in the film was a candid shoot at the Night Market’, says Rohan clearly relishing
the memory. There were huge crowds and we were short of manpower, we needed Abhishek
to move through the Night Market without people realizing that a Hindi film star was in their
midst and looking into the camera. This is the beauty of Goa. People will leave you alone and
let you do your work. I must say when it comes to crowd management Goa is simply
unparalleled, probably one of the best places in India to shoot’.
Music, of course was an integral part of this film. Having created an iconic chartbuster “Right
Here Right Now’ in ‘Bluffmaster’ the pressure was to deliver music which was on par. ‘I always
knew who I wanted as a lyricist’ says Rohan. Jaideep Sahni, a lyricist, screenwriter, and also a
pal had written the lyrics for Bluffmaster and getting him to do the lyrics here was a natural
choice. ‘This film is edgy and dramatic and I felt it needed a composer who would not merely
complement the subject, but would actually give the film a broader base through good,
commercial music’. Furthermore we had the rights to the original “Dum Maaro Dum’ song,
which is iconic to say the least, and finding someone brave and creative enough to do it justice
was key.’ smiles Rohan. Pritam has created a lovely, eclectic album, where each song has a
distinctive flavor. An outstanding energetic team player, Pritam spent ages imbibing the script
and making it his own, and musically attempted to take it to a much higher level, emphasizing
each of the themes lacing the film —- Love, Regret, Loss, Redemption, Greed, Rage, Hope —
creating unique compositions that heralded each theme. He was superbly complemented by the
edgy, moody and tense background score composed by the very talented band Midival Punditz,
in collaboration with Karsh Kale, who reveled in giving their own unique take on the classic Dum
Maaro Dum song for the Title Sequence.

Rohan says ‘We got in Aarif Sheikh to edit the film. Aarif had previously edited Taxi 9211 for us
and I was really happy to continue this association further. Aarif of course has done a superb
job’.

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