Kannada film Kantara song plagiarism row: Interview with Little Swayam, director of ‘Navarasam’ music video by Kerala band Thakkudam Bridge

‘Navarasam’ is a song originally released on January 19, 2017 Keralabased rock band Thakkudam Bridge In the news again on YouTube. The video has been rediscovered by over 2 million people in 2022 after the release of Kannada Blockbuster Kantaras,

Thakkudam Bridge Has gone to court saying ‘Navrasam’ KantarasThe sound of ‘Varaha Roopam’ is similar. The comment section on social media is a slug fest between fans on both sides, with occasional posts calling for quiet introspection and credit.

People have deeply impressed Navarasam, and the video directed by Little Swayam, who is also an editor and cinematographer. video tells Navrasasi Through Kathakali dancer couple and their young child.

Swamp, 34, has been in California since 2019 – he moved in 2018 after doing cinematography Fahad Fasilo-Starrer Varathana, and has also worked with director Anjali Menon and composer Ricky Cage. He says he can only “find it appealing” when other people “use our methods and techniques to create art for themselves or to find their audience”.

In an email interview, he speaks about the making of the ‘Navarsam’ music video and the current controversy. Edited excerpt:

How did you feel when you saw ‘Varaha Roopam’ from Kantara?

When I first saw ‘Varaha Roopam’ on YouTube, it reminded me of ‘Navarasam’. some friends told me Kantaras is a good film. I look forward to seeing it soon. I wondered if the makers of the film had seen what we had done before the making of Navarasam…

It seems that a new group of people are now rediscovering ‘Navarasam’ and ‘One’ by Thekkudam Bridge. The songs age well and the visuals are still contemporary. How did you reach for ‘Navarasam’?

Little Swamp (second from left) with the members of Thikkudam Bridge during the making of the ‘Navarasam’ music video.

Govind [Vasantha] From Thakkudam Bridge Played ‘Navarasam’ for me before shooting for ‘One’. After the success of ‘One’, I was asked if I would be interested in doing ‘Navarasam’. It took me a long time to decide. I knew the track was strong and I needed to justify it with a strong story.

It took a few months to formulate the concept and treatment. The casting process took more than a month. I visited various Kathakali artists, events and schools in Kerala. I also traveled to Kannur to find a suitable place. The scene where the boy falls into the well was crucial, and we had to hire a professional stunt master. We shot for five days. I was left in the well with the camera to capture the scene. During all this, I was stressed and unwell and I doubted whether I would be able to complete the project. That night, I had a dream where an abstract form of a Kathakali artist appeared and told me not to mess it up and voiced that I could do it. The next day we finished shooting.

I was trying to do my best, and the child actors, Prayag, and the rest of the cast and crew helped me convey the story through their performances and support.

How did you envision the song, color schemes, and mood – from utter joy to heart-wrenching sadness?

Little Swayamvar with ‘Navarasam’ child artist Prayag.

All the different Kathakali characters had unique color palettes; Visually, we wanted to complement the deities with the natural surroundings. The mood was that it should be of clay. For example, the family performing together depicted the murder of Bali, ‘Bali Vadham’. The green color on the child’s nose was a sign of Hanuman. Lord Krishna is the savior in the end, who expresses hope. I wanted to be true to the gods.

When the child falls into the well, I imagined the art form being buried or buried in the earth. Heartbreak and grief are all part of the cycle of life. Something new may also arise.

What are your thoughts about inspired music? How strongly do you feel about intellectual property rights (IPR)?

Sound and music affect our senses of hearing so much that it takes people from within. The process of being mentally stimulated to do or feel something creative happens from the moment we are born.

When it comes to rights related to creation and artists’ projects, I have to be an expert on the legalities to make my point. This is an important way of protecting the rights of artists over the creations of their extraordinary minds. IPR has inspired artists to discover the unseen. I see it as an honor to the creator.

As its producer, how does ‘Navarasam’ move you now?

A still from the ‘Navarasam’ music video.

‘Navarasam’ is very close to my heart. Although it was a long process, personally, it was one of the most challenging years of my life; Sometimes, I see that ‘navarsome’ child in myself. It taught me a lot and gave me the courage not to give up and keep looking for answers – no matter what the challenge.

You are in three different areas – directing, editing and cinematography. How do you manage to stay objective and not let one interfere with the other?

I mostly do different roles only when I have limited budget. It gets a lot more complicated when I have to build my projects as well. I interact with myself from different perspectives. It is a constant problem-solving between the variables of time, quality and money; The challenge is to strike a balance. Ultimately what matters is what comes on the screen in its final audio/visual form. So I gather the strength and patience to do my part within the given resources, even if it means cleaning the floor after pack-up. And, over time, I’ve found my peace in various Avatars,

Can you tell us something about your journey?

I am from Kerala. My father is from Nedungpara, and my mother was from Kochi. She passed away when I was six years old and I was raised by many different families. I lived in 45 different houses until I finished high school. I absorbed the different relationships between people, as I had many families. I moved within India, and later moved to Dubai and California. I live in Los Angeles now. I still make films whenever I get a chance. I am learning and exploring technology and other mediums related to cinema and storytelling. I love being a student.

Who are your creative influences and what is your work ethic?

Since I moved a lot as a child, only a few homes initially had televisions. And it was mainly Doordarshan; One of my uncles had B&W Onida TV. But, it rained frequently and power cut. I used to see everything I could see; Language didn’t matter. my dear kuttichathan Was a huge influence on me as a child. And old Malayalam films have also had a great influence.

When it comes to my work ethic, I take time seriously. If there is a sunrise shot, we must arrive on time as a team; The sun will not wait for us. We can’t stop time until someone falls in love.

Any specific reason for you going abroad? And, are you still keen to work in Indian films?

I moved to California to do an audio engineering program. I wanted to learn more about sound in order to become a better editor. And to explore new and upcoming technologies. I still do ad films for clients. I am also working in the film industry in Los Angeles.

When it comes to Indian cinema, if there is an exciting script or story coming up in the future, I would be very happy to work on that.

The consultant writer from Mangaluru has been covering Entertainment Beat for over two decades.