I try to create inquisitiveness from the beginning: Rhythm Sanadhya

Mumbai: Song director Rhythm Sanadhya, who recently directed Mahakumbh fame Monalisa Bhosle in Dil Jania and had earlier directed Kapil Sharma’s Har Safar Mein in Kis Kisko Pyaar Karoon 2, feels that the opening of a video matters a lot, especially with shrinking attention spans.
She said, “I always make sure that the opening of the song is stellar and distinctive. I try to create inquisitiveness from the beginning. The buildup of the first 30 seconds decides the pace of the story. I try to pick my most captivating shot for the beginning or insert an indulging narrative to pull the attention of the audience.”
“The entry of the hero and heroine is also crucial. Within the first 5–7 seconds, something must feel slightly off or unresolved. A character doing something unexpected. The mind hates unfinished business, so it stays,” she added.

Talking about the creative challenges she faces while directing music videos today, she revealed that time, budget, and audience expectations are the three constant challenges in directing music videos today. She said, “Time demands that a complete, cinematic story unfold within a mere three to four minutes. Budget is never quite enough to fully realize a director’s creative ambition, while clients naturally expect maximum impact at minimal cost, placing the responsibility on us to deliver quality far beyond the numbers.”
“Audience expectations, however, remain the most unpredictable. In that uncertainty, I rely on intuition. I let my heart follow the rhythm of the music, trusting that when the emotion is honest, everything eventually falls into place,” she added.But she turns these challenges into problem-solving. She said, “You stop decorating ideas and start engineering moments. Some of my strongest visuals came from asking, How do I say this without the obvious tools? A shadow, an unplanned movement, an actor’s instinctive choice. If it feels honest and practical, I trust it.”
“Those moments often become the soul of the video. My vision doesn’t shrink; it distills,” she added.
Rhythm also acknowledged that editing sensibilities have evolved with the rise of reels and short-form content. She said, “Cuts are now guided by micro-beats, demanding a heightened awareness of pace, silence, breath, and transition. Even a fraction of a second too long can disrupt engagement.”
“Editing has, in many ways, become musical in itself. When the emotion lands precisely, any moment from a song has the potential to transcend the video and take on a life of its own as a viral reel or meme,” she added.Asked if she feels that music videos are moving more towards mood-driven visuals rather than strong narratives, she said, “Striking on the vibe is important to align with the audience mindset. Strong narratives are strong as per the requirement of the song; if the song is intensely emotional and is stirring, then backing it up with a storyline creates massive impact.” She stressed that the most compelling work today feels deeply rooted, shaped by local textures, real environments, and unfiltered identities. She said, “When a video stops trying to be global, it often becomes universal.”
“I’m especially inspired by how folk music and regional languages are now travelling beyond boundaries. There are many songs whose words I may not understand, yet the vibe resonates instantly, proving that emotion needs no translation,” Rhythm ended.