19 June,2009 11:16 AM IST | | Manju Shettar
Music director Veersamarth is brimming with confidence after the success of Kaaranjji
Veersamarth , who has composed music for films like Shivamani, Gandhi Smiles, Olave Vismaya, and Mrugaynti, talks about his ideas of music and his forthcoming films.
The music of Kaaranjji has become a big hit. What is the secret?
The film itself is a new experiment insofar as the Kannada industry is concerned. So, there was ample opportunity to compose different music, and probably it became a hit because of this. Producer N M Suresh, director Sridhar and the whole crew supported me.
I am working on three projects. The first one is Olave Vismaya, a love story. The second one is Mrugnayani, which I can't reveal too much about because the director has told me not to! I'm also working on a film called IPC Section 300.
If you were to list your career milestones, they would be...
There are many. Working with the greatest of musicians like Pandit Bhimsen Joshi and Lata Mangeshkar for the movie Gandhi Smiles was one of them. Lataji heard the track, liked it and mentioned it. She was very keen to sing the song, but her health didn't permit her. I also recall my first intercollegiate performance, where I wasu00a0 selected among the top three out of 300 participants.
You are influenced by folk music. In fact, one sees the influence in the music of all the films you've done so far
Folk music can work anywhere in the world. Don't you smell the soil wherever you are? Even though A R Rehman is great in western music, he always composes and makes use of fusion with folk. Most of his big hits have the fragrance of the earth. I didn't do it deliberately, but I am equally comfortable with folk, western and filmi music.
Most Kannada filmmakers use Mumbai playback singers. Do you encourage such a trend?
There's no doubt that there are a number of talented singers in Karnataka but Mumbai singers have their own unique style. I find them dedicated and hardworking. They respect Kannada languag. And not all of them charge astronomical fees. For example, Sukhvinder Singh took 50 per cent less than his usual fee for singing poet-philiospher Shishunala Sharief's composition, Kumbaraaki.
Many music directors begin with good tunes, but after a few movies, they sound jaded and repetitive.
Talent is just one half of the story. Opportunities and patience are also important. The industry has to make use of existing talent. Generally, success matters more than talent. But we should strive to create opportunities for talent to succeed.
