The interview which appears below, was originally aired on Rahmania - Aaha FM in March 2008. Interview excerpt is written by V.R. Vithur from the A.R. Rahman Yahoo Fans Group. ©The rights to this material are reserved to the owner. If you have any concerns or comments, please send an email to info@rahmaniac.com.
Director Pravinkanth is a very simple director. We met him on A.R. Rahman’s birthday, and he told us that he gained a name in the film industry because of A.R. Rahman. He directed films like Ratchagan, Star, and Jodi. His talk with Raihanaji on the Rahmania Show is as follows:
How did you come to meet Rahman, and how did you become a director?
It was a great accident. Rahman Sir’s range has been so high. A very big level. All directors used to dream of having him as their music director, similar to how directors now dream of casting Aishwarya Rai as their film’s heroine. But for me, it was God’s grace that I got Rahman Sir for my movie, Ratchagan. I got committed to Producer K.T. Kunjumohan, and Rahman Sir had done 2 films with Shankar Sir in their production. At the same time, Kadhir was also doing a film. So, I felt like the gates were likely to open, even though Rahman Sir was not that comfortable working with new directors, because of wavelength, etc. Kunjumohan Sir told me not to imagine too much, and if there is luck, we will try.
If I have to thank somebody, then it would be Sushmita Sen, whom shall be thanked first. Because it was from her that this project became a big project. Sushmita Sen gave an interview after she won Miss Universe. She said that she loved the Tamil Industry and was willing to work with Tamil Cine Industry people. So, we approached her, and she told us to bring the script. She accepted it. But, she was 5′ 11″. So, I decided on a hero who would match her height, and I imagined and wanted Nagarjuna Sir.
It was Kunjumohan Sir who wanted to request Rahman Sir for the film. That time, Rahman Sir was very busy. He was not able to do the project. Kunjumohan Sir was opening a new office in Kerala, and he had invited everyone. So, the full crew was there in Kerala, and Rahman Sir was also present. Sushmita Sen was a great fan of Rahman Sir, and had wished him in Kerala. (It seems Sushmita Sen always wanted to meet Rahman Sir, whenever she visited Chennai). Even Aishwarya Rai also was a very big fan of Rahman Sir. So, Sushmita went and directly approached Rahman Sir and said, “I am going to act in a Tamil film. You have to do the music for the film.” Rahman Sir was surprised and said, “Ok. I will listen to the subject, and if I like it, I will do it.”
Then I went to Rahman Sir and gave him the script. He couldn’t get time to read the entire script. There in Madurai, we had composing. Myself, Rahman Sir, and Vairamuthu Sir were present. After listening to my situation, Rahman Sir told me, “What’s this!! Everything seems to be abnormal.” The situation that I told him was “Hero & Heroine are having a honeymoon on the Moon. So, we wanted to create a song sequence on the moon.” Then it was not considered feasible, and something else was finalized. He gave wonderful tunes.
The first tune given for the film was “Nenje Nenje.” I would never suggest anything to Rahman Sir because I know for sure that whatever suggestion I may give, it would surely be less than his knowledge levels, and he knows best. So, I never advised or suggested to him about the singer I wanted, etc. So, I told him the situation and the mood, and he listened to it and went away. That time, the film Kadhal Desam also got released. Then he called me & Vairamuthu Sir and gave me the tune of “Nenje Nenje.”
How were you able to control big stars like Nagarjuna, Sushmita Sen, and A.R. Rahman? Were they listening and obeying you?
I think I am a lucky fellow in all aspects. Nagarjuna is a very sweet person, a loveable person. He never used to ask questions. Sushmita Sen was doing her first film. She was very childlike, and it was she who was so adamant about wanting Rahman Sir for the film. I learned one very important quality from Rahman Sir. Whoever doesn’t take success to his pride and remains as normal will surely reach more and more heights.
What is the bond between you and Rahman?
My first film got me a good name technically. Even now, in Loyola College, Ratchagan is a subject matter for Visual Communication students. The reason was a lot of money was invested in graphics in the Tamil industry. Rs 1.35 crores was invested in graphics alone. Ratchagan was a Rs 15 crores movie. Jeans and other movies followed. Seeing the preview, Vairamuthu Sir told Bharathiraja to watch the movie. Bharathiraja was very happy seeing the movie, and said, “Maniratnam did a great movie, followed by Shankar, and now Ratchagan is following that trend.” He gave an open interview like that. Then, whenever he met Rahman Sir, he used to speak highly of me. Vairamuthu Sir used to meet Rahman Sir daily and pass some good words about me. That developed a confidence in Rahman Sir, and he must have felt that he didn’t work with the wrong person.
So, after Ratchagan, I relied only on Rahman Sir for my next project, as he was my only faith. I used to follow him every day. He used to tell me, “Ok Praveen. I will tell you; I will tell you.” It was through Rahman Sir that I got my next chance with Dr. Murali Manohar (producer). He was doing Jeans at that time. After Jeans, he wanted to do another movie with Rahman Sir, and Rahman Sir suggested my name to him. I narrated the subject of “Jodi” to Murali Manohar, and he also liked it. So, the process continued…
About the Film “Star”
During these processes, I became a very good friend of Rahman Sir. So, I started developing the habit of using his Hindi songs for my Tamil films. So Rahman Sir slowly developed confidence in me, and believed that I would not make mistakes if relied upon. That came fine after the film Jodi.
I have never seen Rahman Sir interested in or showing any interest in the commercial aspects of the movie. He would never even desire to talk about money. I have also heard from sources that he doesn’t even touch currency notes. Even when I went and gave him huge amounts, he never used to care about that. He always used to ask me, “Why talk about money always?” His upbringing is entirely different, compared to me.
I listened to a good rhythm beat composed by Rahman Sir for Govind Nihalani’s film Thakshak. It was not a tune. It was just a beat composed. I liked it very much and requested Rahman Sir to make this beat into a full song. Then, we brought Shankar Mahadevan and made it into a climax song. We wanted the lyrics to be in a very ferocious manner, and Vairamuthu Sir took time to write it. Everyone started liking that song “Thom Karuvil Irundhom.” I am very particular about rhythm. Rahman Sir’s popularity can be highlighted in his rhythms. He always uses different rhythms. He started using different sounds in the rhythms. Rahman Sir is always conscious of the first few lines of the song.
For example: “Oru Poiyavadhu Soll Kanne” – All the remaining lyrics had been written, and the recording was going on. Singers were singing the Charanam part of it, and the first half of the Pallavi. The first few lyrics were not satisfying at all, and Rahman Sir wanted something better. Finally, Rahman Sir himself provided the lyrics “Oru Poiyavadhu Soll Kanne.” The lyrics brought life to the song.
Future Projects
I have been overly speedy in my projects, etc. But in reality, it’s always better to be cautious, go steady, and I learned even this from Rahman Sir. At one time, there were five directors waiting in Rahman Sir’s studio:
- Subhash Ghai
- Govind Nihalani
- Ram Gopal Varma
- Shekhar Kapur
- Shankar
- Maniratnam
Everyone was waiting for their movies. I got tensed seeing all of them, and Rahman Sir was sitting very cool inside his office. I asked him, “Sir, so many people are waiting.” Then he replied, “So what… I am doing my work. They have come for their work. Concentrate on the work.”
You will find that, apart from Rahman Sir’s compound, everywhere else, you can observe people dancing to the tunes of big shots. But with Rahman Sir, you can find the maturity, which may be the blessing of God; his prayers, etc.
I have been having discussions with Rahman Sir for my next film, and he has agreed to it. I am planning for Ratchagan – Part II. It would be a different film altogether in the history of Indian Cinema. The script work is getting readied with very high-tech technology.
I am also doing a film for Pyramid Saimira called “Anandhatin Ellai”.
Favorite Songs of Rahman Sir
“Aalala Kanda” from Sangmam is among my favorites. You can feel the essence of the song just by listening to its tune. The sound and the melody stimulate you towards a great objective.
