NJ: What form did the research take?

SA: I did a lot research into Partition itself as well as Indian classical music, particularly Hindustani music because the story was based in the Punjab region. I also researched the type of singing and idiomatic melodies used in the episode. I had to make it as authentic as possible, but within context as well because it had to fit into the series sound for [the 11th season]. At the same time, I didn’t want it to be pastiche. That was the challenge. It’s a fantastic episode, and very brave of Chris and Vinay [Patel, the writer]. Everyone did such an amazing job.

NJ: Was it a hard sell to get the execs to agree to you using a new, sung version of the theme over the end credits?

SA: Yeah, we were having our spotting session and I was just saying that I didn’t think we could go crashing in to our normal theme after such a beautiful, emotional and tender moment between Yaz and her grandma. So I said I think we had three options: One is that we use the theme as is, two is that whatever cue was going on between Yaz and her Nani could be carried on into the credits, and the third option was to do a version of the theme using the Indian instruments whereby I could take in that same feeling and emotion from the end of the scene. Chris is great. He said, “Do that, the third one,” and then it was a case of having to do it and make it the very best it could be!

NJ: I see that some of your orchestral work was recently performed by Decus Ensemble. Is it important to keep flexing these different musical muscles?

SA: That was very much a case where my string quartet was being performed at the same time Doctor Who was going on. I’m absolutely interested in writing concert music as well as doing film and TV, although the predominant thing will be film and TV. For me, it’s about being a composer who embraces different forms of expression.

NJ: How much has the BAFTA Breakthrough Brit support brought you to where you are today? Has it opened doors, or helped nudge those they were already opening?

SA: It really is a fantastic program, and they really do what they say they will do. What was so amazing, and slightly unexpected, is that people really do take it seriously. It really was a case where I met exec producers who took an interest in my work after being selected as a Breakthrough Brit. I think it definitely did raise my profile, and on top of that I was able to get some fantastic mentors who have been brilliant in guiding me through my career.

NJ: Would you say that your project Black and British: A Forgotten History was what got you onto Chris Chibnall’s radar?

SA: Black and British: A Forgotten History has essentially opened every door since, and I think that if we’re talking specifically about Doctor Who, then yes, Black and British is a very important part of that, but so too are the science documentaries that I did after that, which have a different feel and stylistic palette [The Human Body, Expedition Volcano, Wonders of the Moon]. I know that Chris has specifically mentioned Black and British, but also all three of [my documentaries]. He talks about their different styles and breadth of expression. Chris and Matt were both very thorough; they knew my work extremely well.

NJ: Thank you for your time today. I’m really looking forward to listening to the [season 11] soundtrack album [released in January by Silva Screen] and hopefully many more episode scores in the future.

SA: Thank you! I’m really glad that you’re enjoying it. I must also say that the fans have been amazing and I’m very grateful to all of them.

—FSMO

You can follow Segun Akinola on Twitter @SegunAkinola or read about his latest projects at segunakinola.com.