Delhi High Court restrains Ilaiyaraaja from streaming songs from 134 films in copyright case filed by Saregama

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In a significant development in a long-running copyright dispute, the Delhi High Court has passed an interim order in favour of music label Saregama India Ltd., restraining legendary composer Ilaiyaraaja from broadcasting or communicating songs from 134 films until further orders. The order was passed by Justice Tushar Rao Gedela, who observed that while Ilaiyaraaja continues to hold rights over his original musical compositions, those rights do not automatically extend to the sound recordings incorporated into cinematograph films. According to the court, the copyright in such sound recordings rests with the producer and, where assigned, with Saregama. As per the court's observations, Ilaiyaraaja's rights under the Copyright Act are limited to the musical work itself, which refers to the composition independent of the lyrics and the sound recording. The court noted that these rights cannot be interpreted as ownership over the complete film soundtrack. The dispute arose after S...
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‘I am all for strangeness’: Tilda Swinton on artistic integrity, acting and the afterlife

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The Oscar-winning Scottish actor answers questions from Observer readers and famous fans including Pedro Almodóvar, Wes Anderson and Elton John

Tilda Swinton has been posing in different costumes for the Observer’s photographer and, as I arrive, has just changed into tartan trousers, saucy two-tone shoes and is standing perfectly still as a hairdresser attends to a blond quiff that makes her look like an incredible exotic bird – or a dandy hooligan, although her face looks too seraphic to mutate into aggro. What you see almost at once is that Swinton is giving 100% to the task at hand while being obligingly considerate to everyone around her. The mix of professionalism with warmth disarms, especially when you might have expected a superstar loftiness.

For Swinton is a superstar – ranked by the New York Times as one of the greatest actors of the 21st century. Original, distinctive and questing, she has played everything from a distraught mother in Lynne Ramsay’s We Need to Talk about Kevin (2011) to the ancient, querulous Madame D in Wes Anderson’s The Grand Budapest Hotel (2014) and the White Witch in the Narnia series (2005-2010). She was in Almodóvar’s short The Human Voice (2020) and is about to star in his next full-length feature (details still under wraps). She is a chameleon yet always herself. She has won an Academy award, a Bafta, been nominated for three Golden Globes and, having just turned 63, is still seen as a fashion icon of androgynous beauty with an unchanging profile – like a figurehead on the prow of a ship. What a difference there must be, I’m thinking as I watch her in front of the camera, between her “real” life in the Scottish Highlands by the sea and all this London razzmatazz.

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