Plz read the question "your dreams" ??
He mentioned about our concert in KM!!:D:D
We are so excited and inspired..
Thanks so much sir
We will make it big and make you proud!
________________________________
From: Gopal Srinivasan <catchg...@yahoo.com>
To: arrahmanfans@yahoogroups.com
Sent: Sunday, December 14, 2008 7:57:09 PM
Subject: [arr] "rhythm's gonna get you"
After a long time, an ARR interview in Filmfare.
Filmfare
December 24, 2008
rhythm's gonna get you
Faheem Ruhani catches up with music maven A.R.Rahman
You
seldom catch A.R.Rahman in a frisky mood. I am however, one of the
fortunate few. I discover his funny vein when I taxi down to Film City
to meet the music maestro atSubhash Ghai's film training academy
Whistling Woods. In today's musical cacophony he's easily the jewel in
the junkyard. 2008 has been clearlyRahman' s whammy year. With back-to-back
chartbusters like Jodhaa Akbar and Jaane Tu.... Ya Jaane Na. He was also the
only silver lining in the grin Yuvvraaj. Currently, all years and ears are
glued to the soundtrack of Ghajini. The perfect synthesis of East and West,
Rahman is every filmmaker's
dream and nightmare come true. Nightmare, because you have to wait
interminable hours outside his Chennai music studio. Waiting for the
master to belt out his melodies. Dream, because very tune is designed
to buoy up the musical bar codes. Which adds up to the right time for
me to meet the diminutive 42-year old composer for a quick round of
questions.
Excerpts from a musical chat:
Q: Your Slumdog
Millionaire has earned rave reviews. How is composing for an
international director like Danny Boyle different from composing forSubhash
Ghai or Mani Ratnam?
A:
Danny Boyle seemed like someone I had known from my salad days. He
loved the music I liked to experiment with during my earlier days as a
music composer. It was almost as if I was coming full circle. This was
the stuff I always wanted to do and now I had a director willing to tap
that. It all happened like a flash in two months. Each director is
unique and comes with his different set of experiences. It's like one
man's food is another person's poison but both have their unique
quality. While Mani sir is very futuristic,Ghai saab has an uncanny
understanding of the pulse of the North Indian audience. In a way, working with
Ghai saab helped me learn a lot and I have also unlearnt some stuff.
Q: You were assisting Illayaraja at one point and your assistant Harris Jayaraj
has now branched out independently. When you look back, what thoughts come to
your mind?
A: I think music is a gift to people and you cannot deny it to anyone. People
like Raja sir are a legend and Harris has a great understanding and sense of
setting lyrics to music. I also like music composer Yuvan Shankar.
We meet sometimes dung awards ceremonies. In the pressure of finishing
your work, you end up not listening to the good compositions of others.
You can't casually say this is good or bad.Illayaraja and Harris are both
popular and I respect them.
Q: Harris Jayaraj scored the music for the Tamil version of Ghajini. You've
done so for the Hindi remake. Are you ready for the comparisons?
A:
(Laughs) Yes there will be good and bad comparisons. But, I am prepared
for them. No can replace anyone. I have not seen the original Tamil
film because I didn't want to be influenced by it. I wanted to finish
my work and then watch the film.
Q: What roles has your apprenticeship with Illayaraja played in the music
person that you are today?
A: Err... Illayaraja's influence is so overwhelming on everyone in Tamil Nadu,
it almost permeates your body. I respect his music so much. But just to
get my style in, I had to stay away from his music. In the past when I
have said that people read it out of context and things got
misunderstood.
Q: You mentioned you had fights with Subhash Ghai over the music of Yuvvraaj.
A:
(Giggles) Oh I said that to make conversations with journalists spicy.
Otherwise, it's boring. Well, we had creative differences, just
agreeing to disagree , deciding on what works best for the film and
trying to strike a balance between what we like and what the producers
want.
Q: This is the first time you have composed for Salman Khan. Was he involved in
the music?
A: No, this is the second time. I did a film earlier called Dil Ne Jise Apne
Kaha, which he starred in. I did two songs for the film but couldn't complete
it as something came up for me in London.
Q: You have a yen for sufi numbers and most of the time you end up singing them
as well. What's your take on sufism? Are you sufi at heart?
A:
I try to be one but nobody can be. It's tough to, in this materialistic
world. Sometimes you switch off from everything and you are at peace.
That training of mine is a real boon. Of course, a lot of music is
being passed off as Sufi music these days. But very few of them have
the real soul. Most of them don't.
Q: It seems a filmmaker needs a great amount of patience to work with you.
A:
For every kind of art, you need patience. (Laughs). It's not an ATM
vending machine where you can insert a card and get money.
Q: People say you best at composing romantic songs. Do you agree?
A:
Music is romance. It is filled with many things that make up romance -
the sad part and the joyous part. I will take it as a compliment.
Thanks.
Q: You feel very strongly about intellectual property rights. Is that why you
and Shah Rukh Khan couldn't come together on Om Shanti Om?
A:
Well, in the West, every artiste's rights are protected in a good way
and back way. For example if one person gives a hit, his life is made.
But there's danger of becoming complacent. We don't want that, we want
to work to continue to strive to do better. At the same time, I am
trying to do different things. Like opening this school, starting a
label. (Laughs). And I need money to support all that. As a musician,
different avenues have recently opened up. It's there in the field of
publishing also. I made a choice and then they also make a choice.
There are no hang-ups or fights.
Q: So have there been filmmakers who probably wanted to work with you but kept
away due to IPR issues?
A:
They all know my terms (Laughs). So they don't approach me in any case
They are aware of the positive and negative aspects of working with me.
Q: So, it's like a package deal, take it or leave it, right?
A: Not really. Some of the work I do is not for money. (Laughs). I do it for
the love of music but I can't do so forever.
Q: Your foray into western projects was not exactly well received in India.
Would you agree?
A:
Yeah. But it was never meant for the Indian audience. It was composed
keeping the western market in mind. What was interesting was my trying
to learn something different to put back into Indian films. The
experience also helped me greatly develop a relationship with musicians
and producers abroad. It helped build a bridge to a western audience,
which is great. Now there are westerns who follow my music, a small one
but a strong one.
Q: What role does the story of the film play when you compose music for it?
A:
(Laughs) It's important to know the story just ensure that you don't
end up with the wrong kind of film. Because, I believe, the audience
comes to the theatre to forget their pain. I try to avoid anything
negative even if it be for the sake of art
Q: You are a great fan of the music of Subhash Ghai's Karz. What did you think
of Himesh Reshamiyya's music for Karzzzz?
A: Funnily, I haven't watched either film. I have only seen Subhash Ghai's
Hero. I do like some of Himesh's compositions. I can't elaborate but I think he
is a good musician.
Q: HImesh has said that you are the only music director for whom he would sing?
A: Oh, we have finally got a song for him! We'll call him very soon but whether
he sings it or not is up to him.
Q:
You were part of a rock band before you started composing ad jingles.
Don't you think you would have been just right to compose for a film
like Rock On!?
A: We had actually started work on a film called Rock Star three years ago,
which was to be directed by Imtiaz Ali. I even got an okay from the legendary
Carlos Santana to play for it. Unfortunately, UTV backed out from the project.
It's a shame. I had almost done three songs for it. But I am glad that Rock On!
happened.
Q: Some of your other projects like Bose: The Forgotten Hero and Provoked were
not really well received.
A: I wouldn't say it wasn't well received. It wasn
't well promoted. When something is good, it has its own life. Now
people are noticing and talking about Bose. By the way, I only did the
background score for Provoked.
Q: Does it take a lot of convincing on the part of the filmmakers to convince
you to compose music for their films?
A: I would love to do everyone's
film because they all come with with so much love and affection but I
don't have the energy to knock off 15 films a year. I am so heart
broken when I have to say 'No". I am trying to balance my family life
and my professional life. Thank God, I don't have a social life.
Q: You had collaborated with Nusrat Fateh Ali Khan 12 years ago. Are there more
collaborations in the offing?
A:
I recently collaborated with this hip-hop artist called M.I.A. She is
very big in the IS and we did the entire track together for OSaya from Slumdog
Millionaire. The film is going to the Oscars. I don't know if it will get
shortlisted, but 20th Century Fox is sending the M.I.A. track and another one
called Jai Ho.
Q: Do you think critics are much easier on you now?
A:
(Laughs) I think I have taken enough pointers from them, so, I guess...
my hardest critic is me. That's the reason why, even after mixing forGhajini, I
listened to it for some time and then went back to it and spent another week on
the entire score. (Laughs). Hence the delay.
Q: How come you haven't worked with Aditya Chopra or Karan Johar? Is it because
you refuse to come to Mumbai and record?
A: I met Aditya Chopra once. I have met Karan Johar too. He called me for his
birthday party once but unfortunately, I was stuck with something else.
Q: Weren't you supposed to to the background score for Sanjay Leela Bhansali's
Black?
A: (Laughs) Yeah, that never happened for some strange reason. I have to
mention that I recently bought the DVD of Saawariya and played it on my High
Definition projector. I couldn't get the sound on, but I loved the visuals.
Q: Vishal Shekhar remixed an old number for Bachna Ae Haseeno originally
composed by RD Burman. Would you do something like that?
A: I did something like that in the South and got into trouble. I did it in
good spirit but people took it in the wrong spirit. I would rather not play
around with anyone's work.
Q: You haven't done too many classical based numbers, except for some in
Lagaan, 1947 Earth, Jodhaa Akbar and now Yuvvraaj.
A: I would love to do it. The director of Shalimar, Krishna Shah, had come up
to me with a very good script about Baiju Bawra and Tansen. We were about to
start the project, but it never happened.
Q:
You are one of the few south Indian music directors to have
consistently struck it big int he Hindi film industry. Have you ever
experienced the North-South divide?
A: Never. It's very strange when people say that. It's very disheartening to
know people
fight about the South Indian - North Indian issue. I don't think all
this recent oppression about language and religion is good. All this
should beavoided.
Q: Any dreams?
A: I don't dream at all
nowadays. If something interesting comes up in the form of an email or
a phone call, I take it on. God has blessed me. Actually my dream has
already come true, I wanted to start a school and I actually have. I
have 100 students in the school. Recently, I saw some of my students
perform and it was really gratifying. When I first heard themperform ,
I'd thought to myself, 'Oh my God, you have a task here'. But now,
after three months, they've changed completely. You have to hand it to
the faculty.
Q: What determines whether you will get along well with a director?
A: Well that's a nightmare actually. It could be either heaven or hell. Ram
Gopal Varma introduced me to Shekhar Kapur. I have known him for the last 14
years. We have only
worked together twice. He's the toughest director with whom I've worked
with. His thinking is way beyond. To think like him takes patience. And
of course time.
Q: Did religion come to you as a salve? You have often said it saved you. What
do you think of the current climate of intolerance?
A:
I think each one has to undertake his spiritual journey. For me, it's
been great learning experience. I have met the right kind of people and
imbibed the right kind of knowledge and guidance. That's what's most
important. The guidance can take a negative or a positive toll. All my
guides have been Sufis. For them, it's only about love, tolerance,
compassion and healing. That's the way I live my life too. For me,
every being is a creation of God, whatever religion you may belong to.
Q: Of your three children, which of them seem the most musically inclined?
A:
(Laughs) Err... It's a difficult questions. I have started a music
school but I don't have teachers for my own kids. My music faculty is
busy teaching other kids. So, getting them initiated into music is one
thing I have to look into right away. My eldest daughter is 12 years
old, the middle one is 10 and the youngest is six.
Q: You had a difficult childhood and have struggled to reach this position.
What lessons did you pick up on the way?
A: I think the most important
lesson is: you get what you give. If you give hatred you get hatred. If
you give love, you get love and if you wish someone harm, you are
harmed I try toavoid backbiting or any other negative emotions. If I
don't have good things to say about people, I don't say anything
because how can you judge another person? It's all a matter of
one'sperspective.
Q: Where do you derive your inspiration? Do you have a muse?
A: My inspiration is my love
for music. That's how I derive energy and motivation. My new motivation
is my music school. The more I work as a composer, the better equipped
I am to sponsor theactivities of the school.
Q: Apart from music, about what else are you passionate?
A: (Laughs) Umm... I am passionate about... I can't think of anything else
beyond music. But yes, I am fascinated by filmmaking. I see as many movies as I
can. I like to see films with which I am not involved - Italian or Chinese
films. There is a lot of stuff I would love to watch but I don't have the time.
I like (Iranian directors) Majid Majidi and Mohsen Makhmalbaf. I have recently
become a fan of Danny Boyle too.
Q: What are the prerequisites for a good musician?
A: I don't know. I just try to discover and rediscover new things. In the
process, I also discover myself.
