My entry into the world of film music started with Kasaravalli's Thai Sahiba. This is my fifth film with him. It has been wonderful working with him. He is a wonderful person who make wonderful films.

When you're working with him, you get an opportunity to do something different. Each of his films have a different feel to it. They are also made in different parts of Karnataka. Thai Sahiba was based in north Karnataka, almost bordering Maharashtra while Dweepa happened in Dakshina Kannada. Hasina belonged to an entirely different milieu while Nayi Neralu was different from Haseena. The story of Gulabi Talkies takes place again in Dakshina Kannada.

The landscape lends itself to certain rhythmic features and musical idioms of that area. For me, the local colour is an important take-off point. So, directors like Girish or Kavitha (Lankesh) send me the local music the moment I start working on their films. It inspires one to create certain ethos that will go along with the social milieu. But it is the internal conflict and pain of the characters and the mood of the film that act as the foundation of my musical score.

Also read: 'I had to unlearn many things for Gulabi Talkies'

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