AR Rahman isn’t in the mood to talk about his music for ‘Maryan,’ but about everything else he’s happy to hold forth.
AR Rahman seems to like having his picture taken. He’s seated at the edge of a couch in one of the many small office rooms at his Kodambakkam studio, and the harsh lights bouncing off the walls are heating up an already sultry summer evening. But he’s smiling. He’s dressed up for the occasion in a discreetly embroidered maroon kurta and a stole tossed around his neck. As the photographers begin to wrap up, I remark to him that he seems quite composed under the circumstances. He says this is easy. He’s prepared for it. What’s difficult is when people pop up with photo requests when he’s at the airport or at an event or entering a place of worship for prayer. He laughs that laugh that hasn’t changed in the twenty-plus years we’ve known him, that high-pitched giggle that suggests a little boy who’s gotten away with mischief or a grown man still rubbing his eyes that his every dream has come true. It’s likely the latter.
The other thing that hasn’t changed is his equanimity about everything under the sun. He speaks of an early song which drew negative comments about his voice from the first few listeners. They said that the way he sang Mustafa, that had emotion. Here, he was just shouting. But when he played the song to Deepa Mehta, she wept. He wonders what it is that triggers some people’s emotions while others are blind to it. His conclusion: if there’s honesty in something, it works. That’s why, he feels, Iranian singer Alaa Wardi’s a cappella rendition of Pehla nasha went viral. If Wardi had gone to a T-Series or a Magnasound in an earlier decade, they’d have said the Indian audience wouldn’t like it. He says we all start judging what is right or wrong, and sometimes we can’t think beyond “you won’t be a hit” or “your voice won’t fit.” We like to box things into slots. We are all human. (That laugh again.) But now, with the Internet and all, it’s opened up. It’s like, let people make the judgment.
He admits there’s a negative side to the Internet. There’s so much bathroom writing, he says. If you take a story about any personality and see the comments below, it’s unacceptable. And nobody is punished. When you have faith, you say “I can’t do this because God is watching.” But here they get away with anything. The world opening up has actually been a problem, he says, because there are too many directions – you can get confused, you can get lost. And the crash of CD sales happened in this era. The consumption of music is much more, but musicians get paid much less. But there are always two sides to things, he says, and you can make any negative thing a positive too. He met Pandit Ravi Shankar in London and asked him to play for Maa Tujhe Salaam, the slow version. But the maestro didn’t believe in it, thinking it was something of a sacrilege. So they went another way, using a saxophone to play the melody. That forced us to think differently, he says. Hence the credo: anything can be turned into a positive.
After all he’s achieved, what makes him get out of bed to work? What makes him say yes to a project? He says it’s his mortgages and lets loose a howl of laughter. Collecting himself, he says he wants the experience to be pleasing and open. When you just do things for the sake of doing your work, it shows. It becomes boring for everyone, even his own team, if he’s not allowed to explore different directions, given the limitations. And the talk finally turns to Bharatbala’s Maryan, the reason for this interview. I ask him what those limitations are and he says that the story is set in Africa, which is something new for him. So automatically his sensibilities have to open up and make him say “What else can I do? How can I gravitate towards something I would like and what people will accept?” He talks of the director’s visionary ideas – a bearded Bharatbala, in mustard-yellow pants and a black shirt, is a silent observer in the room’s far corner – but he won’t talk about the music, which he feels should be heard, not spoken about. All he’ll say is that it’s simple and appealing.
There’s another reason he’s reluctant to talk about his work in isolation, and that’s his belief that the film has triggered the music. He needs to give fifty per cent of the credit to the film, because without the film, without the script, without the director’s inputs, the music wouldn’t have existed. In a way, if a listener enjoyed anything of the music, it is because of the movie. And it doesn’t matter if the film succeeds or fails. These days, he says, a film’s success is not limited to one release. Three years later, people may wake up to it. He gives the example of Iruvar, when some fans asked him how he could make such bad music, especially compared to his score for Muthu. When you accept praise, he says, you also have to accept blame. I attempt to steer the conversation to Maryan again. This time, I refer to the director’s admission, earlier, that this was a film with fifty per cent less dialogue than the average Tamil movie. Surely this would mean more scoring. He says he’s still doing the background and that it’s going to be a lot of work. This is how musicians build a brick wall.
Another film that’s been in the news, again starring Dhanush, is Anand L Rai’s Raanjhanaa – it’s trailer just came out. Do new filmmakers, given his stature, feel free to tell him what they really want? Of course, he says. Abbas Tyrewala would reject every tune of his, and that’s what he wants. That’s what makes the interaction worthwhile, otherwise he’d keep doing the same thing. The directors’ choices, he says, make his soundtrack unique, and that’s why he likes working with different filmmakers, so that a different side of him comes out each time. And yet, there are filmmakers who keep coming back to him – like Shankar, whose I marks the duo’s twentieth year of collaboration. Shankar, he says, carries the burden of always having to be successful and needs a lot of convincing, so it’s really challenging to work with him. He recalls spending over an hour talking to the filmmaker about Sahana, the song from Sivaji, saying that it would work.
Shankar’s worries are valid, he feels, because of this age we live in, this age of inattentiveness, of distraction, this age of too much content. He recalls watching a symphony and falling asleep when it got too repetitive. He fell asleep again during a small lull in the second half of Oz the Great and Powerful. As a composer, he says, he constantly has to keep thinking about those guys who are saturated with content. He was in Berlin some time ago, and he heard someone scream out that they loved Sheela Chandra, the English pop singer of Indian descent. This, he says, wouldn’t have happened without the Internet’s ability to disseminate all kinds of music. And we’re back to this era’s freedoms, where people are not forced by this channel or that one to listen to specific content. I try to get something about Maryan one last time, when Bharatbala steps in and says that the biggest thing was getting Yuvan Shankar Raja to sing for the album. Last night was when the song was recorded, and it was mixed at four in the morning, and the mastering engineer left at six. The hours, too, haven’t changed in these twenty-plus years.
An edited version of this piece can be found here.
Copyright ©2013 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Girish
May 2, 2013
Wow..good one. Maybe you could have explored a bit about Raanjhanaa’s music as well. At one end you have music from Africa and at the other Benaras. Need a real genius to tread through it confidently. Wish him success always.
LikeLike
JK Vysnav
May 2, 2013
Are u reviewing SK by any chance?
LikeLike
Sandeep
May 2, 2013
Excellent interview…..
LikeLike
Pranesh Pandurangan
May 2, 2013
I was too young at the time to know this when Iruvar released, but was the music received badly? I think it’s awesome. Did it have negative reviews or is it just that you don’t like it?
LikeLike
sarathchandar (@msarathchandar)
May 2, 2013
Nice work Baradwaj Rangan anna, INTERACTION WITH MASTER A.R Sir ❤ to both of you..
LikeLike
rejath
May 2, 2013
superb interview
LikeLike
Vishal
May 2, 2013
That laugh still hasn’t changed in 20+ years for sure!
I sometimes wish he didn’t cared too much about how people reacted to his work. As an artist, it must be hard to distance himself from appreciation (and scrutiny), but I wish we could see more of an auteur – instead of a commercial artist – in ARR.
Also, doing an album like Maa Tujhe Salaam once in a while can possibly bring out that “pure” side of him that’s not botched (or, at least affected) by a director’s tastes and dictates – as well as from the situational requirements imposed by a movie.
LikeLike
Santosh Kumar T K
May 2, 2013
20th year of Shankar’s “Gentleman?” WOW! ’93 seems so yesterday, then 🙂 His pairing with Shankar (not necessarily a “mass” director) is very significant because he could flaunt the latest “toys” in his kitty, cut loose, have fun and make the important dough to afford smaller gems he presented to other guys. It’s interesting that the shankar – a r rahman collab is as old as the mani ratnam – a r rahman one 🙂
LikeLike
vpjaiganesh
May 3, 2013
by your standards, this is one meek interview – as if you too were in a daze..
nalla chance – miss pannitteLe!!
LikeLike
venkatesh
May 3, 2013
Am i the only one underwhelmed by the magic of ARR and by this “interview” ?
LikeLike
brangan
May 3, 2013
Pranesh Pandurangan: “He gives the example of Iruvar, when some fans asked him how he could make such bad music, especially compared to his score for Muthu.” From which part of this sentence do you derive any opinion I had of “Iruvar”? It’s all his words, right?
vpjaiganesh / venkatesh: This is not an “interview” — more like a brief encounter. It was literally that. I got some 15 minutes and it was over before we could get warmed up. I’m not defending this piece — which I agree is nothing great — but on behalf of my journo brethren I wanted to say this. Sometimes you’re asked to write something in connection with an upcoming film and you just do it, with five journos ahead of you and five behind you looking impatiently at their watch. It’s just filler, best treated as a writing exercise — and you hope it will make for decent reading. There’s nothing more to it.
You could say no, but then sometimes, in these unplanned things, some magic can happen. The interviewee will let down his guard, say something interesting that you can turn into a great riff. That didn’t happen here and he just didn’t want to talk about the music of the new films at all. At some point, I was contemplating calling this piece “15 minutes with a brick wall” 🙂
LikeLike
Venkat
May 3, 2013
Was this supposed to be just a “feel-good” interview (both of you feeling good about this interview at the end of the day) or Was it to tick off in your diary that you interviewed a super star of Indian music? If any of the above two, I guess you succeeded pretty well. However if your real intention was to understand him and his music a bit more, you would have asked him a few things like, why is that his music sound the same in these 20+ years. Is that the “baani” which Carnatic musicians refer to or is it the “cut-paste-copy” or template syndrome? Why is that his music sound pretty artificial to most situations? Most of his songs do not blend with the situation. Lets take the latest example of Kadal. His songs in Kadal sound pretty western to me and does not give the nativity of a deep south seashore village. Is it again lack of creativity and templatized approach or his penchant for western instruments in his orchestra or singers who do not understand the language he/she sings in? Finally you could have asked him why is that none of his background scores are worth remembering. Anyway good attempt…
LikeLike
brangan
May 3, 2013
Talk about a quick response.
My favourite bit: “But when he played the song to Perarasu, he danced his skin out.” 🙂
http://tamil.theunrealtimes.com/2013/05/03/what-else-can-i-possibly-do-exclusive-interview-of-srikanth-deva/
LikeLike
sachita
May 3, 2013
“There’s so much bathroom writing, he says. If you take a story about any personality and see the comments below, it’s unacceptable. And nobody is punished. When you have faith, you say “I can’t do this because God is watching.” Well they believe God is watching as well and it(God) is on their side.
LikeLike
Shankar
May 3, 2013
Baddy, 5 journos in front, 5 behind you….I was reminded of Notting Hill where Hugh Grant ends up interviewing Julia Roberts, awkwardly posing as a reporter from a Horse magazine! 🙂 that too was a press meet situation…those assignments are tough!
LikeLike
Syam
May 3, 2013
What time did u meet him ? Just to understand how long he sleeps 🙂
LikeLike
raj
May 3, 2013
This article – doesnt seem like Brangan had any material to piece together a decent article. Rahman also seems bored about film promotions and stuff – even if it has to be for a film from his best buddy and his own personal media-image-designer BharatBala. At the same time, very professional in turning out neat and dapper, getting those photos done, which, if you think about it, is going to be huge PR for him and the movie(thalaivar enna superA continuum keyboard vasikkarar andha photola)
Very nice to see him put off by certain ppl – he always maintains his image of “i luv 3 much whole of humanity. no soul is dirty enough for me to hate”. A bit loose there showing his disapproval of social media commenters.
LikeLike
raj
May 3, 2013
Didnt get that Pt Ravishankar comment. Did Pt Ravishankar imply that playing for Maa Tujhe Salaam would be sacrilege? Sacrilege towards what? Is it like Pt Ravi felt so humbled that him playing for Rahman’s great MTS would be sacrilege? Or did he mean that him , Pt Ravi, stooping to play this would be sacrilege on his(Pt Ravi’s) skills?
LikeLike
Siddarth
May 3, 2013
Can u tell me what that song was AR referrinf to??In which he was criticised of shouting rather than singing??
LikeLike
Gradwolf
May 3, 2013
LOL @ Bharatraj Thangam!
LikeLike
Sharan (@sharanidli)
May 3, 2013
“He speaks of an early song which drew negative comments about his voice from the first few listeners. They said that the way he sang Mustafa, that had emotion. Here, he was just shouting. But when he played the song to Deepa Mehta, she wept”
What is this song?
(Great, great BR. Been a fan for years now, never commented, however).
LikeLike
kathaadi
May 3, 2013
15 நிமிஷத்துல
‘What else can I do?
LikeLike
venkatesh
May 3, 2013
“15 minutes with a brick wall” , Now that i would have liked
LikeLike
vpjaiganesh
May 4, 2013
@brangan : got that.. was wondering why the column/interview/meeting was so short.. sorry abt that – professional hazard i guess “publicity interview” remembered this publicity interview gone wrong http://www.youtube.com/watch?v=GrsJDy8VjZk
LikeLike
vpjaiganesh
May 4, 2013
I was thinking — interview with brick wall.. PVNarasimha lives on..
LikeLike
brangan
May 4, 2013
Syam: About 6 pm.
Gradwolf: I thought you’d have picked up on the fact that this piece is, in a sense, a continuation of the right-place-at-the-right-time article I wrote, which got so much flak. I just had to ask him point-blank what it felt like to be in this ultra-networked era 🙂
kathaadi: That’s right. I thought that quote summed up my predicament as well 🙂
vpjaiganesh: Oh, no need for sorry. I just had to explain what happened because not everyone understands the circumstances in which these things happen, and sometimes it’s just good to know.
LikeLike
Gradwolf
May 4, 2013
Of course it is. But unfortunately no middle aged fans waxing eloquent about ARR and his MBA team that have got him all recognition and awards!
LikeLike
Sharan (@sharanidli)
May 4, 2013
I meant “Great, great, blog, BR”.
LikeLike
Prakash Mishra
May 5, 2013
out standing and Excellent interview…..
LikeLike
Suganth
May 5, 2013
Sharan/Brangan: Just a hunch… Is the song Antha Arabikkadaloram? ‘Cos it came out around the same time as Mustafa (just a bit earlier I think) & Mehta used it in the Fire soundtrack as well..
LikeLike
vijay
May 6, 2013
They shouldn’t be sending you for these promo pieces
LikeLike
vijay
May 6, 2013
“when Bharatbala steps in and says that the biggest thing was getting Yuvan Shankar Raja to sing for the album”
was the biggest thing getting him, or was it making him actually sing? 🙂
LikeLike
plum
May 6, 2013
“They shouldn’t be sending you for these promo pieces”
Exactly. First, they demean him by making him Tamil Film Reviewer in a newspaper where Chini Mnthikad Aibers and Kudhish Samaths are Hindi & English film reviewers. Then, this.
idhukku New Indian Express-E thEvalabA
LikeLike
S.Lakshman Rao
May 7, 2013
The question was very simple.In the field of music which had the recognition of the two points.The Instrument orThe voice of the singer…Have right answer from Shri.AR.Rehman .
LikeLike
KayKay
August 20, 2014
Sorry, didn’t know where else to post this. Once again, it’s been an embarrassment of riches where The Master’s offering is concerned this week.
The mellifluous East-West fusion of The One Hundred Foot Journey score to see me through work and the gorgeous and utterly charming throwback to ’60s era Tamil music of Kaaviya Thalaivan to chill out with at home.
Looking forward to hearing your thoughts on one or the other ( or both, if I’m really lucky!)
LikeLike