To get such an out-of-box script and also debut with a Mohanlal film. Moreover, I grew up in Munnar watching Malayalam cinema. It is a thriller that needs a lot of ethnic sounds from that period and region - there was a lot of scope to experiment with old instruments intrinsic to Kerala. First, it was a very unique, non-linear story. But when I heard Odiyan’s script I couldn’t resist. I had gotten several offers for just the background score, even from Bollywood, but I didn’t take it as I wanted to shoulder the entire film. But after Vikram Vedha’s release, they approached me to score the background music. While the songs for Odiyan were composed earlier before by M Jayachandran. You are making your debut in Malayalam with the background score of Mohanlal’s Odiyan. In case of horror like Karu, it didn’t matter as it is an open space. We have to work to the timing of the actors on screen. But there are some genres that you can’t compose beforehand - comedy, for example. And when they shoot with the music, it streamlines the mood and feel of the team. Since there is no visual limitation, the only marker is the duration of the scene. When we read a book, our mind simultaneously visualises the same.
How different was it to compose for Karu where you were brought on board at a later stage.Ĭomposing for the script is like scoring for a novel. It is quite interesting that you generally compose with scripts. Some might work, some might not, but we lose only to learn. Even though they aren’t my ideal premise, I would strive to deliver something different. But it is still technically a Tasmac song. We used a lot of junk material like bottles, glasses, water cans in creating the sound. For example, Tasaku Tasaku’s background beats were created through beatboxing. Even in my current line-up, I have several such songs but each number would be unique. It has been something that has thoroughly explored in Kollywood cinema. The objective would be to do it differently within the realm of the story and the premise. How would you approach something with a fantasy element, a dream song sequence? Your philosophy towards songs is that it shouldn’t stand out from the narrative the background score creates - some of your famous hits have been montage songs. It is not that I don’t like songs - I prefer when they are placed when there is need for it. “Yaanji” happened when we decided to add lyrics to a musical montage - songs should be placed when there is space for it. With films like Vikram Vedha or Iravuku Ayiram Kangal, there were no songs at the start. I don’t differentiate between songs and background scores - I see it as musical content for a film. The emotions are transilient - there is love, suspense or something else that you have to hint at musically. Say it is a love song, the entire song will be about love. Our minds get into a preset when we consume songs - that we will get only one emotion from it. Didn’t we enjoy Hans Zimmer’s music in Interstellar? There are no songs in the film.
But good music doesn’t necessarily have to be in the form of songs. When you think commercially or in terms of hit value, it is true songs matter.
0 kommentar(er)
