DEVA

'Why don't people praise my individuality?'
Dubbed as a ‘poor man’s Ilayaraja’ for a long time, Deva has bravely weathered all the criticism, and has worked hard to make a name for himself with mega-hits like Arunachalam, Kalamellam Kaathal Vazhga, Nerukku Ner and Avvai Shanmughi. Having scored music for maximum number of Tamil films last year, Deva has made a foray into Telugu films with the Chiranjeevi-starrer Master. In an exclusive interview, Deva gets back at his critics, who accuse him of churning out ‘old hits’ in a new form. Excerpts:

You seem to be accepting every film that is offered to you. If you work at this rate, don’t you think the quality of your music will suffer?
Mine is a musical family, and four of my brothers are here assisting me. As an individual, I cannot manage so many films. I only compose the music, while distribution of notes and making arrangements for recording are all taken care of by my brothers. For the last two years, my work is on in two studios simultaneously. I agree there is a lot of pressure. But I think I am being practical. Cinema is a seasonal business and I have to earn during my heydays. Not only me, I want even my orchestra people to be well-off financially.

I can assure you that in spite of taking on too many films, I never compromise on quality. Cinema is primarily a business, and then an art. Some producers come to me with shooting fixed for the next day, and ask me to deliver a song by lunch break. It is my duty to help them. Of course, there are some like Mani Ratnam and Vasanth, who insisted on quality for Nerukku Ner. They gave me enough time. All said and done, I still had a number of hits last year.

Recently you entered the Telugu film industry. How will you manage working for both, Tamil and Telugu films?
I did a couple of Telugu films four year ago, but they didn’t click. Recently, I did Master, directed by Suresh Krishna (with whom I have given big hits like Basha and Annamalai in Tamil) in which Chiranjeevi has sung for the first time. Greka Veeradu, directed by Dasari Narayana Rao, Auto Driver again directed by Suresh Krishna, starring Nagarjuna, and Raghavendra Rao’s Love 99, all these Telugu films had music by me. I compose the music in Chennai, and for the remaining work, I send one of my groups to Hyderabad.

Why did you agree to do only the re-recording for Chachi 420. It surely isn’t a flattering entry into Bollywood?
I did it for the sake of Kamal (Haasan) because he personally asked me to do it. It was a friendly gesture. I know it is not the right way to enter Hindi films. I did not directly ask Kamal why he didn’t offer Chachi 420 to me. But later, Kamal himself told me that if he had given me the chance to compose music for Chachi 420, it would have been a good break for me in Hindi films.

You don’t seem to concentrate on re-recording. In your films, re-recording just means ‘noise’. Comment.
This is an uncharitable comment. I do understand the significance of re-recording, which contributes a lot to the success of a film. I must admit that due to lack of time I can’t do full justice to it. Producers fix the release date and come to me with the request to finish re-recording in a day or two. In such circumstances, what do you expect me to do except produce ‘noise’. When producers themselves do not understand the significance of re-recording what can I do? The producer should also have a musical ear. But for films like Basha, Nerukku Ner, Kalamellam Kaathal Vazhka and Kathal Kottai enough time was given to me for re-recording and I did a good job.

What is your opinion about the countdown programmes that are now popular on the private channels?
To tell you frankly, these programmes do hurt because an average song tops the list, and an excellent number is last in the countdown. Actually, more than anybody else, I know the audience taste well. Because, inspite of my heavy schedule, I still do live shows in cities down South, just to know the people’s pulse. Their taste of songs and the countdown songs invariably don’t match.

You have never been offered any mega-productions and are sought after only by small-time producers. Why?
It’s good that I’m not a part of any mega-production. How many mammoth films are produced every year? One or at the best, two. Supposing I score music for one big production and it flops, no one will come to me for the next mammoth production. I’ll be jobless, which will be terrible. My latest hit song, Thanjavur mannu in Porkalam, was shot within a budget of one-and-a-half lakhs, and it has reached out to every nook and corner in the South. I value this more. I am safer doing more number of films, instead of risking my entire career on the fate of one mammoth production.

You made Asha Bhosle sing for Nerukku Ner just to prove that you are as good as others. Comment.
When other music directors can make Ashaji sing, why can’t I? I did not do it just to prove my popularity. It had always been my dream to make Lataji and Ashaji sing my songs. I was just waiting for the right producer. When Mani Ratnam came to me for his Nerukku Ner, I seized the opportunity to make Ashaji sing for me. After that song, Ashaji became quite close to my family, and she calls on us everytime she visits Chennai.

Your hit in Porkalam - Thanjavur mannu - is actually a rehash of an old hit, right?
That song is inspired by a folk song based on raga Sindhu Bhairavi. Music has only Sapta Swaras and all of us try to get something out of if in our own way. My Manam virumbuthe and Engango (both from Nerukku Ner) are based on classical ragas Nalinakanthi and Charukesi respectively. Other music directors could have used these ragas. Since the base is the same raga, resemblance is sometimes unavoidable. But you should see how innovatively I have handled that raga. I have certain characteristic songs like Autokaran (Basha), Aval varuvala (Nerukku Ner) and Kola vizhi amman (Purusha Latchanam) which had 108 Goddess’ name in the song. Why don’t people praise my individuality instead of constantly criticising me?

Music directors, including you, don’t repeat the singers they have introduced. Don’t you feel you have a responsibility towards them to promote them?
I gave a break to Krishna Raj, who sings in my music troupe, in Porkalam. If he is good, he will definitely get singing offers from all composers. The present trend is that the audiences constantly ask for new voices. I do try repeating my singers, like Anuradha Sriram, who has sung a number of songs for me.

You seem to have become popular singing those Gaana (lose term for pedestrain) songs. Don’t you feel bad about it?
Why should I? Any type of music is music for me. Gaana is nothing but a Chennai folk song. So far I’ve sung only five Gaana songs, of which two have become extremely popular. I sing these songs because they suit my voice. Even new music directors call me to sing these songs, and without any ego, I sing for them. I am a Karmayogi. I do my duty well. That is my religion.