King Nagarjuna is poised to enchant movie enthusiasts with his upcoming spectacle, "Naa Saami Ranga," directed by the debutant star choreographer Vijay Binni. Scheduled for release on January 14, the film boasts a stellar cast, including Nagarjuna, Allari Naresh, Raj Tarun, Ashika Ranganath, and Jisshu Sengupta in pivotal roles. Noteworthy is its status as the official remake of the 2019 Malayalam hit, "Porinju Mariam Jose," directed by Joshy.

The film's promotions have captured widespread attention, with Oscar Winner Keeravani, the musical maestro behind the scenes, engaging with the media to unveil the intricacies of "Naa Saami Ranga."

Naa Saami Ranga is a remake

Undoubtedly, storytelling can be molded to fit new contexts, but the same cannot be said for music. The traditions and cultural nuances of Kerala and Andhra Pradesh exist in entirely different realms. Vijay (Binni) has taken meticulous care to ensure that the narrative seamlessly aligns with the distinctive essence of coastal Andhra. Approaching adaptations requires a delicate touch, combining intentionality with accessibility. "Naa Saami Ranga" stands as a testament to this approach—it transcends the conventional scene-by-scene adaptation, offering a nuanced and unique cinematic experience.

How did you fall in love with Naa Saami Ranga

While the film is a remake, it brilliantly captures the essence of Telugu culture, offering a unique treatment that sets it apart from the original Malayalam version. Despite being set in the 1990s, I opted for a contemporary approach, steering clear of old-school instruments and music to resonate with the preferences of today's audience.

Maintaining nativity is crucial, and it's a concern that the director takes seriously. Adapting the storyline to align with the cultural nuances of the Telugu audience ensures a more engaging and relatable cinematic experience. The composer, too, plays a pivotal role in this endeavor, crafting a score that resonates with the tastes of the present generation.

Drawing from my previous experiences, such as the remake of 'Sundarakanda,' I understand the importance of staying attuned to the evolving preferences of the audience. Innovation and adaptation are key to delivering a film that stands out and connects with viewers on a deeper level.

Working alongside Nagarjuna (Akkineni) has been a consistently successful collaboration, with many films proving to be hits for both of us. 'Naa Saami Ranga' shares similarities with the beloved 'President Gari Pellam' (1992), both being set in a village and featuring delightful elements of humor and charm. I am optimistic that 'Naa Saami Ranga' will follow in the footsteps of 'President Gari Pellam' and become a cherished classic for the audience.

It is heard that you have taken a special interest and penned a song

While the majority of the songs were skillfully penned by Chandrabose, I personally contributed only to the Friendship song. Admittedly, I am not a seasoned lyricist, and my involvement in songwriting usually requires a specific context or inspiration.

Interestingly, the Friendship song wasn't initially part of the script, and the situation for it didn't exist in the original storyline. My role primarily revolves around areas outside of script development; it's not within my professional scope.

Acknowledging that Chandrabose is the sole lyricist for the film is accurate. To draw an analogy, if you had rice for lunch with a solitary puri in the mix, you would still characterize your meal as rice. In this scenario, Chandrabose is the rice, and my contribution could be likened to the fleeting presence of a pachadi (pickle) that complements one course and then fades away.

Regarding the randomness of writing the song, I must emphasize that I'm not a regular lyricist by profession. However, on this particular occasion, inspiration struck me, prompting me to go ahead with the creative process. It's a unique instance, and I ventured into songwriting due to a spontaneous burst of inspiration, not as a routine practice.

Naa Saami Ranga is the only film this Sankranti release that has an item song

I'm unfamiliar with the term "item song." To me, 'item' typically refers to an object. When it comes to categorizing songs, I simply differentiate between good songs and bad songs. Specifically addressing this film, there is no so-called "item song" included. In my perspective, any song featuring the protagonist should not be labeled as an 'item' song under any circumstances.

How did you find working with Vijay Binni?

Collaborating with newcomers like Vijay is consistently intriguing. Their enthusiasm and eagerness to establish themselves in the industry drive them to go the extra mile. Vijay, being a choreographer, brings a unique perspective to the table, perceiving music through the lens of steps and dance movements. This distinctive approach stood out to me during our collaboration.

Remarkably, Vijay wrapped up the shooting for Naa Saami Ranga within just three months. It's unclear whether this speedy pace was driven by his dedicated efforts to meet the Sankranti release deadline or if it reflects his inherent efficiency. Only time will reveal the true reason behind this accomplishment. Nevertheless, working with someone so committed and efficient has been a noteworthy experience.

You have worked with filmmakers like Vijay Binni and Dasari Narayana Rao, who finish shooting their films in a handful of months. You also collaborate with the likes of SS Rajamouli, who takes years to complete a project. What do you find easier?

I tend to favor the option that provides a higher financial reward; I find it more straightforward in decision-making.

There is a conception that you work with some directors

It would be inaccurate to claim that I've exclusively collaborated with a limited number of directors. In recent years, I've contributed my compositions to films like 'Jayamma Panchayathi.' Reflecting on my career, I've encountered various challenges, with certain years, such as 1995 and 1999, proving to be particularly challenging and less fruitful.

Now that you have won Oscars,do you feel the responsibility increased

Initially, the Oscar was never a goal or consideration for me, and I held little regard for awards in general. However, my perspective shifted when Ramoji Rao garu expressed a desire for our work to be recognized with an Oscar. Considering his esteemed stature and appreciation for the accolade, my perspective on the significance of the Oscar evolved

What is your take on Mani Sharma seeking an opportunity?

There are typically two categories of individuals pursuing opportunities: those driven by financial gain and those seeking an outlet for their creative expression. I've heard that Mani Sharma has expressed interest in collaborating with Mahesh Babu once more. Perhaps, he has musical compositions that align uniquely with Mahesh's style, or maybe, it's a financial consideration. The specifics are better explained by him, and I refrain from speaking on his behalf.

As for myself, I took on 'Naa Saami Ranga' primarily for financial reasons. It's a decision rooted in the pursuit of financial gain, and I speak solely for my motivations in this regard.

Your take on directors different work styles

The duration it takes to cook an omelette versus a curry doesn't determine their superiority; they serve different purposes, each satisfying and bringing joy in its unique way. Similarly, in the realm of films, Rajamouli's productions heavily utilize VFX, requiring a substantial timeframe for completion. The time a director invests in a project doesn't significantly influence my approach to work. Whether a film takes a few months or longer, my commitment remains consistent.

Which films songs did you like among the latest

haven't been keeping up with many films lately, but I recently watched "Animal." The music captivated me, and although I found the songs in "Jailer" to be decent, it was the film's background score that truly stood out for me. In fact, I reached out to Anirudh via text to express my thoughts after watching "Jailer."

Did you start working for Rajamouli-Mahesh Babu's project

I haven't begun my work on the Rajamouli-Mahesh Babu film yet. To determine when the sittings will commence, I need to get in touch with Rajamouli. However, whenever I attempt to call him, his phone seems to be switched off.

Did you complete songs for Hari Hara Veera Mallu

I've crafted three songs for 'Hari Hara Veera Mallu.' Currently, Krish (Jagarlamudi), the director of HHVM, is unavailable. I look forward to composing additional songs once the project resumes production.

What about your project with Mega Star Chiranjeevi

I am concurrently engaged in the musical composition for Chiru 156, directed by Vassishta. Presently, scenes excluding Chiranjeevi are being filmed in Maredumilli. Additionally, I anticipate the resumption of music sessions for the film in the near future.