Thanks for the kind words to Thulasi, Neetika. yes brother. I type the whole interview just for the enjoyment of all our members.
I feel this is the only service that I can render to ARR, who has delighted us so much by his Divine Music. On Sat, May 10, 2008 at 9:38 AM, Thulasi Ram <[EMAIL PROTECTED]> wrote: > 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 >> > > > -- regards, Vithur Whatever God wants to give, no one can deny; Whatever God wants to deny, no one can give. Be happy always
