May 06, 2026 2:02pm IST
GV Prakash Kumar: ‘When I Am Disturbed, Silence, Not Music, Helps Me Reset’ (EXCLUSIVE)
There’s a creative restlessness to GV Prakash Kumar that refuses to settle or slow down. He calls the recently-released Dhanush-starrer “Kara,” which he has composed the music for, an example of “emotional and psychological study coupled with good filmmaking and storytelling.”
While continuing to juggle between composing, acting and producing, GV Prakash tells Variety India how his working style is akin to Dhanush’s, “We are workaholics. If you’re truly passionate about what you do, you don’t feel the pressure. It’s about the eagerness to keep doing what you love.”
That eagerness translates into discipline. He is quick to cut what doesn’t work. “I don’t waste time where I shouldn’t. If something feels off, I drop it. I don’t explore ideas without a clear path. Experience helps me make those calls. I do my R&D, so I know exactly how I’ll execute something.”
“Kara” is a project where that instinct meets emotional depth. “It’s an emotional film about a person dealing with guilt, and that emotion reflects in music. There’s a father sentiment, a psychological element and a heist. I discovered many layers. It’s a sincere attempt; there’s no masala mixed into it.”
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For the composer whose career spans over two decades, emotional clarity is a must. “If something is emotionally direct and honest, it becomes timeless,” he says, pointing to his songs like “Urugudhe Maragudhe,” “Un Perai Sollum Pothe,” “Kathaigalai Pesum,” and “Pookul Pookum.” He credits his musical foundation to stalwarts like Ilaiyaraaja and AR Rahman. “You don’t create classics on the go. The idea is always to create something that lasts. There has to be genuine thought. If something has to stand the test of time, emotion must feel both clear and new.”
His process begins with understanding a film’s world. “You first fix the geography, understand the soundscape,” he says. “In youth/Gen-Z-centric films like ‘Youth’ and ‘NEEK,’ it’s more about sounds than geography. But a film rooted in a place, like ‘Aadukalam,’ draws heavily from its environment. Those roots become your baseline.” From there, he builds outward. “You fix the songwriters, understand the characters, and once those layers are fleshed out, music emerges organically.”
Background scores, he notes, have evolved in how audiences engage with them. “My scores in ‘Polladhavan’ and ‘Veyil’ were widely appreciated. Today, background scores have gained more visibility. They are noticed, and fans even ask for OSTs separately.”
Still, he resists chasing trends for the sake of it. “I don’t follow trends; it depends on the film. A youthful entertainer might warrant them. I can do a ‘Mutta Kalakki’ or ‘Golden Sparrow’ that are trendy. But if I’m working on something like ‘Asuran,’ I’ll stay authentic to that world.”
His listening habits reflect a wide palette. “I listen to a lot of The Weeknd, Billie Eilish and scores by Hans Zimmer,” he says. “I watched ‘Michael,’ and being a fan of Michael Jackson, it was nostalgic and inspiring. I also admired the score of “F1.” I listen to music that inspires me.”
But music isn’t always his refuge. During difficult phases, he leans into silence. “Even when I work out, I switch off music because it distracts me. I listen to music while traveling, but when I’m disturbed, I prefer silence; it helps me reset.”
As an actor, he’s drawn to contrast. “I enjoy variety. I can do a family entertainer and then shift to something darker or more experimental,” he says. A few of his upcoming films are “Vaetkai,” a road film produced by Pa Ranjith, centered on middle-class tensions, a vampire mystery drama “Immortal”, and “Mental Manadhil,” a musical love story directed by Selvaraghavan.
GV Prakash is also pragmatic about the unpredictable nature of virality. “There is no formula for going viral. A film finds its own hook. Sometimes it’s a character, sometimes a moment, sometimes even an interview. People connect with what feels real.” That unpredictability, he says, is part of a larger learning curve. “Positioning a film is an art. Some have mastered it. I’m still learning.”
For now, his routine remains grounded: work, time with his daughter, fitness and travel. But his ambitions for the industry are broader. “We shouldn’t just chase trends; we need to bring back good music. There has to be meaningful music and lyrics. Even platforms should support authenticity and help create work that truly lasts,” he signs off.
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