Very true thulasi!!!
I completely agree with you!!!
Thanx alot Vithur .. loved reading every bit of this interview!!! thanx again
~ Love music love life
Neetika
----- Original Message -----
From: Thulasi Ram <[EMAIL PROTECTED]>
To: arrahmanfans@yahoogroups.com
Sent: Sat, 10 May 2008 09:38:45 +0530 (IST)
Subject: Re: [arr] Subhash Ghai on ARR - Rahmania Program ( Some tidbits abt
Yuvraaj also discussed )
i cant remember any other interview which has been so fulfilling as this..
terrific interview. Mr.Ghai has jus expressed himself to laud ARR..
Vithur, thanx a ton for sharing.. if u typed the whole interview, jus for
the sake of sharing with ARR fans, then i wud b the first to salute u for
investing ur time for others sake.. i cant even think how u have time to do
all these.. hats off! u r a biggest asset to this group.
On Fri, May 9, 2008 at 9:07 AM, Vithur <[EMAIL PROTECTED]> wrote:
> Dear Rahmaniacs,
>
> Subhash Ghai, speaks abt Taal, Kisna, and also abt YUvraj. He also talks
> abt the qualities of ARR. A very good Interview
>
> Q :- You didnt work on any Director. You were writing scripts. Tell us
>
> SG ( Subhash Ghai ) :- I was never assistant to any Director. Right from
> my childhood, I used to write plays, direct them, in my college and
> University Days. It was my hobby. The hobby turned into profession. I
> studied in Delhi, and Pune.
>
> Q: You produce movies, You direct and produce movies, and you direct
> movies. Which among the three do you consider you are best at ?
>
> SG :- I write, I direct and I produce. Three Jobs I have to do. There are
> three persons in me, who keep fighting with each other. Writer keeps writing
> longer version of scripts. Director wants to cut it; Producer wants to
> control Director's economics; But I have managed to balance all this three,
> very smartly and very intelligently.
>
> Q :- what was your Dad and mom ?
>
> SG :- Mom was a teacher in Delhi, and my father was a Dental doctor.
>
> Q :- You have immense organational Capabilities and capacity. Who instills
> all these qualities in you ?
>
> Sg :- There are certain qualities ( traits ) which come from your family.
> Positively, all those humlity, humbleness are from my mom. Practical Living
> in this world , I learnt from my father. My father was more of a practical
> person, and my mom was more philsophical and spiritual person.
>
> Q :- Were you the only son or you had siblings ?
>
> SG :- No. I had two brothers and one sister.
>
> Q :- So, When did you meet RAHMAN ?
>
> SG :- It was a long back story. It was 1993. I remember , Rahman's Roja
> Film music was released. Few people were talking in Bombay. New boy coming
> out with a genius quality in him, compared to other Music Director. So, I
> was coming from Mysore to Bangalore. At that time, in the car, the driver
> was playing songs of Roja. The songs were being played, and I asked him
> whose film it is ?. He says that it is A.R. Rahman from Madras. I said, " ya
> ya. I have heard his name". So, I kept hearing those songs. So, it was two
> to three hours journey. So, I heard two three times. I could see a lot of
> talent, innovative quality because I have been trained under Laxmikanth
> Pyaralal for 20 years, and I had music sense from my childhood. So I had
> developed an ear for music. I talked to him; I love your music and am
> planning a film. I would like to have your services as Music Composer. So,
> he was quite excited and he said, " Even I love your Film " Hero", and I
> used to play Hero's tunes, while I was a keyboard player. So, immediately,
> we clicked with each other. It was a very mutual admiration for each other,
> and when I met him, I could see his clean and Divine qualities in this man.
>
> I remember when he said, " Lets do a good job". I talked to him about
> money. How much money I should pay?. He says, " Lets do a good music. We
> shall talk about it later". So I understood his character, and that he is
> more passionate about his work. And i started blending with him, and we
> started to work on a film called SHIKHAR, which finally couldnt place. But
> then , it happened in TAAL.
>
> I would say, that I was the first from the Hindi Film Industry who noticed
> him from the Bombay Industry and who came to work with him, and everyone in
> Bombay Industry was surprised to see me coming down and working with a South
> Indian Music Director. There were frowns and questions in Bombay, as to how
> a Music Director from South India, could make music for a Hindi Film, and
> find a place in Hindi Industry.
>
> In Hindi Music, there is always a Northern Music which is dominating. So,
> they were wondering, How I am going to justify ?. So, I told him, " Dont
> worry. YOu know the Indian Classical and Western Music well". And he really
> proved , while recording two songs . Ishq Bina Jeena Kya " was recorded
> first, which I later on recorded in Taal. This song initially did not belong
> to Taal. It was recorded for Shikhar. So, I could see the new kind of
> vibrations and growth in me, treating myself.
>
> We were colleagues, and not Guru. I could suggest him, the way Bolly wood
> works, the way Punjabi or Bengali music works. I learnt a lot of things from
> him, and of course can say, we shared knowledge together. It was always
> mutual respect, appreciations and admirations. Things really made fine
> strongly after TAAL. His music is always very challenging. A big Challenge
> for a Director to picturise, and he comes out with a different kind of a
> sound, different kind of phrases, which excites you, grows on you, on your
> minds. by gradual time. First time, you may feel little offensive hearing
> the sound, the kind of phrase it is. But when you listen it more, two three
> four times, it goes on for ever. The quality in his music is that Divinity
> in every song. be it be any song; A folk number or a dance number. He is at
> peace and there is something very attractive , very spiritual. Spirituality
> within himself has paid him a lot , and is revealed in his songs. I can
> understand, that sad songs will have some sort of spirituality in them, but
> having that quality in dancing numbers is ver rare. The Josh is there, but
> peace always prevails. Thats the thing which I always admire in him.
>
> The relationship between me and him is quite envious to other Directors.
>
> Q :- How does your composing go ?
>
> SG :- There is a secret. But anyway, I would like to share it here with
> you. When I narrated full script to him, I told him the mood of the music.
> From the musical point of view, I narrated the script. The situations which
> are going to dominate. So that he gets an idea from me that this film
> requires this. When I write a script, I think of music. There is rough kind
> of structure, impression of music in my mind. and those impressions I pass
> it out to my music Composer. I narrate the mood of the songs which I want;
> Humming songs etc
>
> The First song that was recorded for Taal was " Kareye Naa", and he had a
> very tough time, because I had given him some very interior traits of a
> Punjabi song. Though, he did not pick up any note from that song. He just
> listened to it, and was quite panicky as to how to do that song. I remember
> the trauma in his face while doing that song. But when he came out with that
> song, it was so brilliant. Actually, he had given me tune. I had given that
> tune to Anand Bakshi. Finally, when it came out, it was one of the most
> brilliant songs . Sometimes, he composes three four tunes for me, and then
> he leaves the studio, leaving the tape recorder with me, and I listen four
> five tunes. , and pick the ones, which matches to my story. All four tunes
> are good, but it has to match to my story.
>
> Some tunes, I used to tell him to keep it for me for my next film, ( though
> it was not matching for that particular story at present) . Then he keeps
> smiling and says, " Sir. there are other producers too". I remember Taal
> song. For Nahi Sammne song, I told him that it should be a sad song, and I
> wanted something like John Alton singing, How John Alton sings. His kind of
> songs. he looked at me, " Ok I understand . What you mean ". So , he told me
> to give him the lyrics first. So I told Anand Bakshi to write the lyrics ,
> and he took the lyrics and started singing in that style. That song had come
> out so brilliantly, and its my most favourite song in that film.
>
> Most of the Films, Rahman has been excellent. In totality, he is an
> excellent composer. But it all depends sometimes on the story, The
> director's demand, the producer and he has to work accordingly. Its not
> independent music alone. It is working with the team. But, the tracks of
> Bombay shocked and amazed me, when I listened to the full track. I think
> Bombay is the best track, he has produced. So many other movies are there.
> But Bombay was a complete Album, including the Background Score. I still
> have the Background Score Album with me. He had given to me. He has always
> been brilliant with Maniratnam. Their rapport has been good always.
>
> I hope I am doign Yuvraaj, and am trying to produce a good musical for that
> film. Working with Rahman is a big challenge as a Director. You are
> answerable to his compositions on the screen. That keeps me worried all the
> time.
>
> Unfortunately, I couldnt learn music. I have developed a ear for music. I
> have listened to all kinds of music. I have huge collections of music all
> over the world. Though I dont know much of Western Music, if you come to my
> home, you can find a huge collection of Western Music collections.* I like
> the sound part of it. and that can be found in YUvraaj a lot. He has done a
> brilliant job in YUVRAAJ. *
> * *
> I think of the full Universe while making a film. I will always desire to
> make Indian movies, and not an international film. Films is about people,
> and you are expressing the story through your films, which have to suit your
> own audiences. *People expect a Commercial Quality as well as a Box
> Office, which is the biggest challenge for any Director, and which is
> killing me in Yuvraaj.*
>
> Kisna was revealed to me much later. I have written a story and picked up a
> script belonging to the 1930s. It was a period kind of a film. And the hero
> of such a film, belonged to a different set of values. Those Values were to
> serve and respect parents and the like etc . MY hero belonged to such
> Values, which did not click with the youngsters of 2000s. One of my nieces
> told me, that she didnt like my picture of Kisna. Why shouldnt the hero
> accept the White Girl, , when she is asking him to go to London?. Why shoudl
> he die going back, leading such a painful life ?. I told her that it was a
> story of the great grandfathers. So, it was not in line with the modern
> trend.
>
> I was very keen to work with Rahman. Rahman was the reeling force behind
> it. I felt very bad, when my last film Shikhar was dropped, due to some
> circumstances, and I had to make Pardes in between. So i did owe something
> to rahman. I was making some historical films, and then decided that I must
> make a musical film. A complete musical film. So I created a story, where
> all characters were musical. Musical backdrop ; So, when you create all
> these musical characters, you can pick up a thin story, so that you can
> elucidate the music part of it. I kept the name as Taal, so that I can
> commit to myself , and I came to Rahman and said, " Rahman . this is your
> film. I have written a story. Its a very thin story. I am going to expand it
> through music. I am very much depending on you, and you are going to be
> responsible equally as I am. He took a challenge and TAal is in front of
> you.
>
> I think Rahman is much ahead with respect to sound, or senstivity is
> concerned. I used to attend each and every recording of my songs. I woudl
> stay at his studio and wait, irrespective of whether musicians were there or
> not. I would also watch and observe the sound recording part of it. This
> precisely the reason, why I and Rahman enjoy together. Nobody can beat
> Rahman, as far as the sound is concerned.
>
> Rahman is an artist who can connect with God and this world in equal
> confidence. I am proud of Rahman, that he has thought over this idea about
> this Km Music Conservatory, and he has been sharing this idea , since I
> opened a International Film & Television Institute in Bombay. I have been
> sharing this idea of opening a school for the past 15 years. He came and
> visited the place. He is so thankful to God that he wants to share something
> with the society. I know its not going to be a commercial viable proposition
> for him. He is doing it for his passion. and its goodness in him, in sharing
> this with the younger generation. He is earning whatever is sufficient for
> an achiever. This is really a great and commendble job. I beleive the
> students must utilise it to the maximum extent, as everytime you wont get
> Rahman.
>
> --
> regards,
> Vithur
>
> Whatever God wants to give, no one can deny; Whatever God wants to deny, no
> one can give. Be happy always
>
>
