96 Archives | Page 2 of 2

The interview which appears below, was originally published on Filmfare in April 1996. ©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. There have been rumours that you have been been dropped from 'Shikhar'? What! This is the first time that I've heard such a rumor. Let me tell you, I am doing 'Shikhar'. I'm committed to the project. Mr. Subhash Ghai was in Madras and he attended my sister's wedding. Perhaps there is a hostile group that is trying to spoil our relationship. Speaking of weddings, is it true that you are getting married in March? (Blushing..) Yes. It's an arranged marriage … her name is Saira. She is the sister-in-law of the actor Rahman. At this point can you tell me what attracted you to show business? (Laughs) The need to survive. My father was a music conductor and arranger in Malayalam films, I would often accompany him to the studios. When I was 11, my father passed away suddenly. It was difficult to make both ends meet; I had to get a part-time job and fast. So, I joined Illaiyaraja's group as a keyboard player. Were you formally trained in music? Let's say, I had a working knowledge of music. I could identify the varnams and the thumris. I'd studied Hindustani classical music. I had a taste for ghazals. I could play everything from folk to fusion music. As a result, did your studies suffer? They did. I was cutting classes regularly bit of money for the house. But my principal refused to understand. I used to get a right royal yelling every day because of my poor attendance. After the ninth standard, I was forced to move from Padma Seshadri to Madras Christian College. After that, I joined a music college. I enjoyed school; it was fun. Was working with composers of the stature of Illaiyaraja and M. S. Vishwanathan also fun? It was. I learned what I should do and what I shouldn't. Abroad every year, a sensational new discovery explodes on the music scene. But here new talent is rare, we keep working with the same singers in film after film and with the same orchestra. It's easy to fall into a rut. I wanted to be different, to be wild. But it wasn't easy. Why? Because a composer is given only eight hours to deliver. Where's the time to sit back… reflect… experiment? Whatever you churn out in that time is accepted. MSV used to compose a phrase and ask his musicians to play it over and over - he'd improve on it every time. The 'feel' had to be right. Illaiyaraja writes out the entire score… He's a genius. I just give my musicians some rough notes - they play them over and over until I am satisfied. How long do you take to compose the song? Depends! At times, I finalize a tune after an hour… at times, I have to allot another session. A song can take me two days or two weeks. 'Uyire Uyire' from 'Bombay' took me ages… so did kuchi kuchi rakkamma. On the other hand, Veera pandi kottaiyile from 'Thiruda Thiruda' was ready in a week. Occasionally I've had to change the singer. Which was easier to compose-Muqabla in Kaadhalan or the more melodious Ennavale? Composing a peppy number like 'Muqabla' is easy. I just have to be spontaneous, and let myself go. It's like gorging on Chinese food once a month. But melodies, like 'Chhotisi asha', 'Chandralekha' and 'Ennavale' were more difficult… 'Ennavale' was inspired by a song that is 2000 years old. For the songs of 'Yodha' , I did a lot of research in Nepali and Chinese music. I know 'Ennavale' and the songs from 'Roja' and 'Puthiya Mugam' will be hummed for decades. And Muqabla? 'Muqabla' and 'Chiku Buku rayile' are needed to break the monotony. They're needed to sell a cassette. I don't know how long they'll remain popular but at the moment everyone is dancing to their beat. Would 'Kaadhalan' have been a hit without 'Muqabla'? The film was an entertainer… the songs were only a part of all the tamasha. It's said that for 'Muqabla' you lifted a Dr. Alban number. I was inspired by a beat that also seemed to be the inspiration for Dr. Alban. I heard his number only after my song was composed. After Muqabla, I haven't turned to the same beat… a beat which we call a 'loop'. But you've already started repeating tunes already. In fact, the two Telugu films you've done are nowhere close to your usual standards. Everything I do is so new that even if a single note is repeated, it's noticed immediately. You may hear the same tabla beat 1000 times and no one complains. As for my Telugu films, I can only say that it's up to the director to inspire the composer. Moreover the Telugu audience is different. Why did you turn to ad films? Was it the money? I wanted a change. After a year with Illaiyaraja, I wanted a break. So, in 1987, when I was offered Allwyn's Trendy Watch campaign, I grabbed it. I went on to do almost 300 ad films: Leo Coffee, Boost with Kapil Dev and Sachin Tendulkar, MRF Tyres, Hero Puch… there were so many. The Asian Paints ad which I did with cinematographer Rajiv Menon even won an award. Money isn't important, creative satisfaction is. You can never achieve quality if you just want to make a fast buck. What made you veer towards feature films? Mani Ratnam. His cousin, Sharda Trilok (Trish Productions) had produced one of my ad films. I met Mani at the party hosted by her. I invited him to visit my studio. He came after three months. He must have been impressed with my work because he offered me 'Roja'. I was quite happy in my ad world. I had no intention of joining the film industry as a composer. The pace is much too hectic. But Mani's offer was too tempting to refuse. I love his picturization, he can elevate a routine song by 400 percent; giving it a new dimension. Also, the audience is larger, much larger. Did you expect Roja to be such a mega-hit? We used fresh voices and a fresh approach. We weren't sure if the attempt would click, but we had created something new. After 'Roja', 'Thiruda Thiruda' was quite easy… Bombay wasn't. After 'Roja' there are greater expectations. . Bombay was very demanding. I admit that I gave Mani some problems, but he was very patient and understanding. We composed the title song first. The others followed smoothly if slowly. I think 'Humma Humma' will be the most popular number of the lot. When I accept a film, I make it clear that I take my time over my scores. There's a clause to this effect in my contract. So no one can complain later. My directors are confident that despite the delay, I'll give them good music. Is it true that you were paid Rs. 1 crore for 'Shikhar'? The rights were sold for quite a high price but I wasn't paid much. In fact, I was paid very little. (Shrugs) That's okay. When you work only for money things don't turn out right. I wanted to work with Mr. Ghai. He's a dedicated filmmaker. Success seems to have gone to your head. In an interview, you've been quoted as saying that your cassettes sell more than Illaiyaraja's. That's what people tell me. Have you met MSV or Illaiyaraja after becoming a music director? I met MSV a couple of times. Since my studio's at home, I don't go out much. Is it true that you're a threat to their position? That's what the media says. I don't think so. Illaiyaraja is doing 25 films a year, I have only 10 films on hand. Whom do you consider your closest rival? The man who's inside me and constantly trying to distract me from doing good work. 'Bombay' has run into heavy weather with the censors. I believe so, but I'm sure it'll come through. It's a good film, we've all worked very hard. God will surely help us. It focuses more on the need for humaneness than communal issues. I remember someone saying that every perfect Muslim is a Hindu and every perfect Hindu is a Muslim. Are you a perfect Muslim? We're a very secular family. My sister married a Hindu. We didn't try to stop her from marrying the boy. It's her life, she had to make her decision. There was some talk that you were very close to a chorus singer. Chorus singer? What're you saying? In the studio, we're all brothers and sisters. That's the only way we can work late into the night. Without getting involved in messy affairs. All the girls I work with treat me like their bhai. You've sung the Bombay number 'Hamma Hamma' yourself. Does this mean you're changing lanes. No way. I'll sing only when it's absolutely essential. Are you fluent in Hindi? Not really, but I'm learning. Besides my six Tamil films and my non-film album which I expect to bring out in eight months, I have three Hindi films on hand ('Shikhar', 'Rangeela', and a film being directed by Priyadarshan). If others can copy my tunes and make it to the hit list, why can't I?

The Latest

‘AR’s is a Different World’: The Hidden Heroes Behind A.R. Rahman’s Success

‘Hope is Nothing But a Belief in the Supernatural’: A.R. Rahman on Slumdog Millionaire

‘One of World’s Greatest Living Composers’: Universal Chief Ron Fair on Rahman Before Oscars

‘I Feel Like a Slate Waiting to Be Written On’: A.R. Rahman’s Journey to the Oscars

96

The amount of time it takes to write a song can be unpredictable – A.R. Rahman

‘First Mani, Now Webber’: How Rahman’s Music Captured Two Master Storytellers

When I compose without going through meditation, the melody doesn’t stick – A.R. Rahman

‘I’m Not a Machine’: Rahman on Creative Process, Chart-Busters, and Taking His Time

‘Mani Ratnam Makes Me Sleepless’: Rahman on His Greatest Musical Inspiration