Arjun Janya

There is no denying that working with international artistes gives the music a different feel.

I want my music to be heard.

After a performance at Hosadurga, I was struggling with severe gastroenteritis, for which I took multiple injections to ease the pain. But when it wouldn't abate, I got hospitalized, and that is when the heart issues were found out.

When scoring music, the idea is to ensure that your song makes it to the playlist on your audiences' music player and stands out from the multitude of songs released every day.

When I was composing for 'The Villain,' I looked at it as a fan and came up with tunes accordingly.

I won't deny it, but working on 'The Villain' has been quite a challenge, as Prem is not easy to please.

After all the hard work, today, 'The Villain' songs are creating records with online views and are being played at pretty much every festival. That gives me immense satisfaction.

In this movie, 'Jigarthanda,' audience can feel it as English movie because this BGM is totally different from Indian background score.

In English films, they concentrate more on background scores and the music will be the main highlight of movie. When it comes to our local language, we have comedy, emotion, hero buildups, etc., and the music for each will be different from the other.

'Jigarthanda' will be the first in the Kannada industry to do this type of an experiment. All these days we use to do our recordings in Mumbai, Hyderabad, or in Chennai. But this time we have recorded in three different countries: Spain, Italy and the U.S. We have used around 50 foreign spring orchestra including violins, etc.

But I am not the sort of person who would go and seek work. I believe that if I do my job well work will come to me.

Everybody has their limitations and hence, we need to look for a range of voices more than the quality of singing in our local talent.

In most of his films, Upendra has a harsh and rough demeanor, and Sudeep also has a very massy commercial image. In 'Mukunda Murari,' though, their characters require them to be very different and near silent.

The song that starts with 'Neene Rama, neene Shama, neene Allah, neene Yesu,' is very profound. It exhorts people to stop looking for god everywhere and to instead look within themselves.

'Birugali Yondige' is a pathos song, but it sounds romantic.

'Kudi Maga' is a pub-style song, but the lyrics are really nice and the beats are catchy.

'Tarak' is a 'class' movie and a family entertainer, so the album sounds trendy and peppy.

Most filmmakers give me the reference of my own songs; doing the same thing over and over again doesn't push you to do better.

Legends have composed music for Ambareesh anna's films during his illustrious career and it is a great honor to be able to do it for him in 'Ambi Ning Vysaitho,' as it is his film and doesn't just have him as a supporting actor.

Composing music for 'Mungaru Male 2' is a big responsibility and challenge.

I restricted myself to a diet rich in fruits and vegetables and soon enough lost five kgs. Encouraged by that, I continued to follow a balanced diet and lost another 13 kgs. I feel much better now that I am 18 kgs lighter.

In Kannada cinema, the introduction song for the hero is normally, as we call it, a massy commercial number.

In 'Barfi,' we have departed from regular commercial stuff and used the melody 'Bare Bare,' sung by Sonu Nigam as the introductory song for Diganth.

In Sandalwood, each hero has a style and songs are composed accordingly.

Moreover, if a song is a hit, film makers come to us with requests to score similar tracks. In the process, commercial songs sometimes sound repetitive.