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Where did your journey in film production begin? My journey in the film industry began in 2018. I was previously involved with chit-fund and real estate businesses. Due to my passion for cinema and the influence of some of my friends, I took the plunge and entered this industry. I started out as an executive producer, my first ever project was Goodachari. After that, Kirrak Party, Sita, A1 Express, Raja Raja Chora, Kashmir Files, Kartikeya 2 and Dhamaka followed, in quick succession. And here we are now, with Tiger Nageswara Rao.
Would you say you were interested in films from a very young age?
Yes. My grandfather was in this business as well. Some of my earliest memories involved watching my grandfather screen films to the local Marwari society. Even my father loved cinema and ensured we always saw some film or the other, mostly a Hindi one, as a family during the weekend. So, my passion towards cinema goes way back. As a line of work though, cinema was a business opportunity for me first. The more I learnt about it by working hands-on, the more passionate I eventually became about production as well.
Do you think there is more uncertainty in the film business, compared to others?
No, not really. I truly believe that if you make a film keeping the audience and their tastes and preferences in mind, the film will work 200%. There is no chance of that film not working. There has been such a wide change in the style of making films before and after the pandemic. Content-based cinema is what the audience wants the most today. If you make a content-based film, it does not matter if it is small or big, the film will do well at the box office.
You have created a niche in the industry with films that are either out-and-out entertainers, like Dhamaka, or political films like The Kashmir Files, or the third kind of films that combine entertainment with a certain social/political messaging (Goodachari/Karthikeya 2)...googletag.cmd.push(function() {googletag.display('div-gpt-ad-8052921-2'); });
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If this helped him develop skills as a commercial film composer, it also resulted in a kind of fatigue. Keeravani opened up to Hindi cinema like it was a secret, passionate love affair. It liberated him at some level. He did an interesting mix of films. He largely stuck to the sound of the decade and yet managed to sound different. 'Tu Mile Dil Khile', from Criminal (1995), is a 90s touchstone, which marries the silken playback singing styles of Sanu and Alka Yagnik with Enigma inspired, chill-out ambient music. 'Gali Mein Chand' and 'Hum Yahan' from Zakhm (1998) are delightful creations in the tabla-dholak template, a very 90s Hindi film music convention (so is 'O Saathiya', composed for the movie but used later in Saaya, 2003).
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