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Jeyamkondaan and Dhaam Dhoom

I am the voice behind Lekha Washington and Kanagana Ranaut, respectively.

Dhaam Dhoom was a brilliant time because it was more or less the same team as Unnale Unnale and the same dubbing studio. The only thing that was discordant was the absence of Jeeva sir.

Jeyamkondaan was another beautiful experience. The director of the movie, Mr Kannan was previously the associate of Mani Ratnam sir.

Dubbing can be physically tiring a lot of times, which is why, there are more instances of my turning down opportunities. And the instances of my asking "Why me"?. There are very exceptionally talented dubbing artistes who are brilliant and which is their sole career option. Like in any artistic field, the onus has always been on finding freshness. My voice, I should say has been quite the stumble-upon, as long as dubbing is concerned. I have never thought that I had the typical girl's voice. Its common knowledge that my speaking and singing voices are poles apart.

When I walked in for Sillunu Oru Kadhal, I think I was given to understand that they wanted a "sophisticated, educated" voice. Whatever that meant. I told them that I ll try just for the heck of it, 'cos I don't have the laughter of babbling brooks or a voice that sounds, well, feminine. I am more of the tomboy in some cases. And then Unnale Unnale happened. And then Satham Podadhey.

These were the times I realized the amount labour that goes into making a movie. How easy it is to walk into a theatre, spend the bucks, buy the popcorn and the give a verdict as we walk out. Dubbing sessions were when I realized what it is to be on the other side of the screen. And to be able to work with the directors is a brilliant learning experience too. Their thought processes and how they shape a certain expression to come out in someone else's voice to convey an idea. Its beautiful to be part of the whole thing. Amidst a lot of laughter, some tears, screaming if the character demands it, pulling each others legs and several cups of tea dubbing sessions are wrapped up. Tiresomeness hits only after a while. But the studio engineers are extremely sharp and they can spot tiredness in the voice immediately. A break happens there or the remaining scenes would be postponed to another day. Usually they don't push a tired voice since the next step will be strain and then a total break until the voice recuperates. Normally sessions like these take about 3-5 days. But not the entire day in each case. A few hours in each. Guess this works best both ways. Having different people come in to speak different roles gives the needed creative break and work gets done in the same time perhaps.

Several times I have wondered about things I ought to have had. About the way somethings should have turned out. And a few people that I have come across. But then as I was driving home today after a recording session - the song was an extremely fulfilling one -I was thinking that these are times that I must remember again, to count my blessings. That I am offered opportunities again and again on varied levels to try out and figure out the things. But never waste an opportunity to learn.

I guess if I am getting these, so does everyone else. And if everyone out there can grab every opportunity that presents itself, work on it for whatever it is worth, I am sure it would be complete use of this time that we have called life.

Here is wishing, for you, who are reading this space, that you get enough and more opportunities, to grow, change, evolve, those which can shift and change perspectives and sometimes toss up your insides, so that, you know what it is like to have new eyes. Or maybe, just, a new way of seeing, watching, observing. And may you also have the grace and reckless abandon that makes you take the step forward to work on the present.

Godspeed Good People.