Kannada film Kantara song plagiarism row: Interview with Littil Swayamp, director of ‘Navarasam’ music video by Kerala band Thaikkudam Bridge

‘Navarasam’, a track initially launched on January 19, 2017, by Kerala-based rock band Thaikkudam Bridge on YouTube, is again within the information. Greater than 2 million individuals have re-discovered the video in 2022 after the discharge of Kannada blockbuster  Kantara.

Thaikkudam Bridge has gone to courtroom saying ‘Navarasam’ and  Kantara’s ‘Varaha Roopam’ sound comparable. The feedback part on social media is a slug fest between followers of either side, with occasional posts calling for quiet introspection and giving credit score.

Littil Swayamp

Individuals have liked the deeply affecting ‘Navarasam’, and the video, directed by Littil Swayamp, who’s an editor and cinematographer too. The video narrates the  Navarasas by way of a Kathakali dancer couple and their younger baby.

Swayamp, 34, has been in California since 2019 — he moved after doing the cinematography on the 2018 Fahadh Faasil-starrer Varathan, and has additionally labored with director Anjali Menon and musician Ricky Kej. He says he can solely “discover it fascinating” when others use “our strategies and methods to create artwork for themselves or discover their viewers”.

In an electronic mail interview, he speaks about creating the ‘Navarasam’ music video and the present controversy. Edited excerpts:

If you noticed ‘Varaha Roopam’ from Kantara, what did you’re feeling?

Once I noticed ‘Varaha Roopam’ on YouTube for the primary time, it jogged my memory of ‘Navarasam’. A number of mates advised me Kantara is an effective movie. I’m wanting ahead to watching it quickly. I questioned if the movie’s makers had watched what we had carried out for ‘Navarasam’ earlier than they acquired into manufacturing…

An entire new set of individuals now appears to be rediscovering ‘Navarasam’ and ‘One’ by Thaikkudam Bridge. The songs have aged very nicely and the visuals are nonetheless up to date. How did you strategy ‘Navarasam’?

Govind [Vasantha] from Thaikkudam Bridge performed ‘Navarasam’ for me earlier than the shoot of ‘One’. Following the success of ‘One’, I used to be requested if I might be fascinated about doing ‘Navarasam’. It took me a very long time to determine. I knew the observe was sturdy and I wanted to justify it with a agency story.

Littil Swayamp (2nd from left) with the members of Thaikkudam Bridge through the making of the ‘Navarasam’ music video.

Formulating the idea and remedy took a few months. The casting course of took over a month. I visited varied Kathakali artists, reveals and colleges in Kerala. I additionally travelled to Kannur to search out appropriate areas. The scene the place the boy falls into the nicely was essential, and we needed to rent knowledgeable stunt grasp. We shot for 5 days. I used to be let down into the nicely with the digicam to seize the scene. Throughout all this, I used to be careworn and unwell and doubted if I might end the challenge. That night time, I had a dream the place an summary type of a Kathakali artist confirmed up and advised me to not mess this up and voiced that I may do it. The subsequent day we completed the shoot.

I used to be attempting to seize one of the best I may, and the kid actor, Prayag, and the remainder of the solid and crew helped me convey the story by way of their efficiency and assist.

How did you visualise the track, color schemes and the temper — from utter mirth to heartbreaking sorrow?

All of the completely different Kathakali characters had distinctive color palettes; visually, we wished to enhance the gods with pure environment. The temper was to have it earthy. As an illustration, the household performing collectively depicted ‘Bali Vadham’, the killing of Bali. The inexperienced color on the kid’s nostril was a reference to Hanuman. Lord Krishna is the saviour ultimately, which expresses hope. I wished to be true to the gods.

Littil Swayamp with Prayag, the kid actor, of ‘Navarasam’.

When the kid falls into the nicely, I visualised the artwork type being buried or blended into the earth. Heartbreak and sorrow are all a part of the cycle of life. One thing new will also be born.

What are your ideas on music that’s impressed? How strongly do you’re feeling about mental property rights (IPR)?

Sound and music considerably influence our listening to senses, a lot in order that it strikes individuals from inside. The method of being mentally stimulated to do or really feel one thing artistic occurs from the second we’re born.

On the subject of rights referring to creation and artists’ initiatives, I have to develop into an professional on the legalities to have a say. It’s a important method to defend artists’ rights over the creations of their distinctive minds. IPR has pushed artists to find the undiscovered. I see it as being respectful of the creator.

As its creator, how does ‘Navarasam’ transfer you now?

‘Navarasam’ may be very near my coronary heart. Although it was a protracted course of, personally, it was one of the vital difficult years of my life; typically, I see that ‘Navarasam’ baby in myself. It taught me quite a bit and gave me the braveness to not hand over and preserve trying to find solutions — regardless of the problem.

A nonetheless from the ‘Navarasam’ music video.

You straddle three very distinct fields — route, modifying and cinematography. How do you handle to remain goal and never let one intervene with the opposite?

I principally do completely different roles solely when I’ve a restricted price range. It will get much more advanced after I even have to supply my initiatives. I’ve conversations with myself from completely different views. It’s fixed problem-solving amongst variables of time, high quality and cash; the method of putting a steadiness is the problem. What finally issues is what comes on display screen in its closing audio/ visible type. So I collect the power and persistence to do my half inside the given assets, even when which means cleansing the ground after pack-up. And, in time, I’ve discovered my peace in varied avatars.

May you inform us a bit about your journey?

I’m from Kerala. My dad is from Nedungapra, and my mom was from Kochi. She handed away after I was six, and many various households raised me. I’d lived in 45 completely different homes by the point I completed highschool. I absorbed the completely different relationships between individuals, as I had many households. I moved inside India, and later went to Dubai and California. I now reside in Los Angeles. I nonetheless make movies after I get an opportunity. I’m studying and exploring know-how and different mediums associated to cinema and storytelling. I like being a pupil.

Who’re your artistic influences and what’s your work ethic like?

Since I moved quite a bit as a baby, just a few homes initially had a tv. And it was primarily Doordarshan; certainly one of my uncles had a B&W Onida TV. However, it will rain usually and electrical energy would get lower. I used to observe no matter I may; the language didn’t matter. My Expensive Kuttichathan was an enormous affect on me as a baby. And previous Malayalam films too have had an excellent influence.

On the subject of my work ethic, I take time severely. If there’s a dawn shot, we as a crew have to be there on time; the solar is not going to look ahead to us. We will’t cease time except somebody falls in love.

Any explicit cause you moved overseas? And, are you continue to fascinated about working in Indian movies?

I moved to California to do an Audio Engineering programme. I wished to study extra about sound to be a greater editor. And to discover new and upcoming applied sciences. I nonetheless do promoting movies for purchasers. I’ve additionally been working within the movie business in Los Angeles.

On the subject of Indian cinema, if an thrilling script or story comes by sooner or later, I will probably be greater than happy to work on it.

The marketing consultant author from Mangaluru has been protecting the leisure beat for twenty years.