Music changed at a rapid pace in the past decade, says Sricharan Pakala

Already 35 films old, he is currently a sought-after talent for espionage films.

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Rapport with Garry BH

Sricharan Pakala performing at an event. (Twitter)

The music composer shares a good rapport with cinematographer-editor-director Garry BH and he says it only got better over the years.

“I have done a lot of action and spy thrillers. Garry BH being the editor of the projects helped us maintain a sync. He was an editor for more than 20-plus films that I worked for. They were mostly back-to-back projects,” Sricharan Pakala told South First.

He explained that it is important to have a good understanding of the editor in post-production work. “Before the film’s release, I would make changes if need be. But then, Garry and I would have our share of arguments, too,” he quipped.

He remarked that the editing and music done on software platforms are different. “Even if there is a small change in the edit, I will have to change the music. But it is all on a healthy note.”

Related: DoP Garry BH won’t quit editing but will also direct films

Recognition with Kshanam

While Sricharan Pakala’s Guntur Talkies (2016) was a hit, Adivi Sesh’s Kshanam (2016) gave him much-needed glory and there was no looking back. He grabbed many serious films since then.

“I always wanted to be an all-rounder and I believe I am now. I love love stories and commercial films like comedy, drama, etc. Every now and then, I have been doing projects like Krishna And His Leela (2020), Humble Politician Nograj (Kannada, 2018), and Ma Vintha Gadha Vinuma (2020) which have different content. I am inclined towards lighter stories too,” Sricharan Pakala said.

Change in music scene

‘Kshanam’ poster. (Facebook)

Ask him if the music scene has changed in the past decade and he concurs.

“Yes, on a rapid pace, especially the sound. The music that I had done for Kshanam was new then but it wouldn’t get the same response if I were to score it now. Sound is always evolving, and one constant thing is the soul,” he elucidated.

He further added: “Around that, a lot of things keep changing. There has been a lot of amalgamation of genres and patterns of making music and sound differently. Everywhere we are being updated with a lot of software. It is the same eight notes but is presented differently.”

When asked about composing music for OTT platforms, Sricharan Pakala remarked: “For OTT, the approach is different. For theatre, I might go heavy or light based on the subject. But for OTT, it is the reverse. Some watch it in their homes, on phones, earphones or in home theatres. Packaging it all and catering it for a variety is a challenge!”

The music director worked for Jhansi (2022) and Pelli Gola (2017), both web series.

“When we watch the cinema in the theatre, the drum bass is audible, it is heavy. I have a lot of friends watching on ear pods. The trailer is mixed, and the output is taken, but the translation is very important. I mix it separately for theatre and OTT platforms. If I do a scene with heavy music, you might find the music loud on ear pods, but the same on the screen is agreeable,” he added.

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On deadlines and hits

A poster of ‘Ugram’. (Twitter)

Delivering hits is always an important factor in the film industry. And nowadays. it has become mandatory for at least one song to become a hit before the film’s release.

In the process, the music composer faces a lot of pressure. Sricharan Pakala has composed songs on a single card for many movies. “These days, directors prefer music composers to score music for just one or two songs. It is for freshness, variety or due to time constraints,” he pointed out.

Sricharan Pakala got a single card for Ugram (2023), Naandhi (2021), Major, Kshanam, Goodachari (2018), Krishna And His Leela, Yevaru and Yevaru in Kannada, and a lot more. However, he prefers working on an entire film.

About not delivering output on time, he said: “I listen to a lot of international, Indian and independent music. I am updated on what people are grooving to. We must keep track of the latest trends. I agree that music directors take a lot of time to deliver the tunes and it gives tense moments for the producers. But that is because they are in a creative space. It does take time.”

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On Nikhil’s Spy

‘Spy’ poster (Twitter)

For Spy, Sricharan Pakala is trying to compose new sounds and changing the pattern of the background score. It is an important film for him since it has a pan-India reach.

“I am trying to give it (Spy) a new spin from the music department. We got an amazing response for the teaser. Garry narrated the story and we saw the visuals. We discussed in detail the background score, the pause, the silence, etc. I gave my ideas. I am giving two songs, and I want to ensure that it connects and caters to all. It is more on the emotional side,” he revealed.

Ask him if there’s any particular music composer in particular that he enjoys listening to and he quips: “Yes, Vijay Bulganin.”

Sricharan Pakala’s next will see the launch of Roshan Kanakala, son of renowned anchor Suma and actor Rajeev Kanakala. It boasts of a new-age album.

Also, there is Goodachari 2 which has Adivi Sesh playing the lead. “I don’t watch many films but I listen to a lot of music. There is a theme for this franchise. We are planning to create a brand and impact for this project”.

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