M. Jayachandran

It's alright to make an actor sing if the director already has an ideal sequence in his film. But I am totally against bringing in actors to sing in every film without any context and just for marketing purposes.

The increased use of cigarettes and tobacco products among youth is worrying. Starting with cigarettes and tobacco, youngsters are soon lured into use of drugs.

The society has an obligation to protect younger generation and prevent them from the use of tobacco products.

Educational institutions, which are the grooming grounds for creating responsible citizens have to be kept tobacco and smoke-free.

Singing these days has become a mechanical exercise for many, and mostly this is because song situations that require effort from the heart are rare to come by.

The songs of Raghavan Master are timeless. There are a lot of things that a student of music has to learn from them. He expressed his thoughts not through words, but music.

Any composer needs opportunities, but now these chances are based on personal relationships, and not on talent alone. For that, you must keep calling directors and keep them happy. So, PR plays a major part now, more than talent or success.

But it can be tough for new composers as directors tend to block you out.

I think the reason composers aren't valued is because many act as servants rather than music directors. Instead of taking a stand based on their convictions, they sway to the opinions of others.

I pick voices suitable for a particular song rendition and for that, it doesn't matter where they hail from.

I don't know anything about politics or lobbying in the film world.

It's very important that your work reaches people and it is marketed professionally and guarded well against piracy. For all of those reasons, I take into account the credibility of the team I work with.

Be it flute, piano or any instrument, there would always be a reason to bring in the particular feel into a song.

Times are such that poetry has been slowly drifting away from our songs and the language of conversation is used a lot more as lyrics. I believe such attempts create mundane songs, and they hardly stand the test of time.

Usually people like experimental music which is usually not the case in Carnatic classical concerts.

In any art, unpredictability is the delightful factor.

Every song has a mood, a situation and a different kind of score.

'Kilikal Parannatho' sung by Rajesh Krishnan, who sung 'Julie I Love You' in 'Chattakari,' is a personal favourite of mine.

I always try to look for variety in my work.

Usually all lullabies are featured on a mother and child. But in 'Kalimannu,' it is picturised on a mother-to-be who is singing to her unborn child. I found the entire concept so beautiful.

Acting is not at all my forte.

In the past 20 years of musical journey, what I realized is that one need to respect their teachers, elders and parents and their blessings are more than enough for one to reach success. I believe it as my success mantra.

I am familiar with the Odiyan legend, as my mother used to tell me that her grandmother would narrate the Odiyan tales while she grew up in Palakkad.

What really surprised me was that we had released the song 'Kondoram'... without any video and it still garnered so many views. The song had only lyrics and no visuals.

My work is music. That's why I could set to tune a song such as 'Kathirunnu Kathirunnu.'