A.R.Rahman (Fan Club)-Part2 - Page 19

Yaar Tujhe Salaam

There is calmness, a sort of unexplainable peace that fills the heart when you hear him speak. When you talk to him, he listens with undivided attention.

And when he makes music, time stops still. All that you are surrounded by is the melody. All the notes are perfectly arranged, the tempo is just right, and suddenly everything seems to be perfect in this whole wide crazy world.

From Roja to Rang De Basanti and from Bombay Dreams to Lord of the Rings musical, Rahman is busy painting the world music scene with a kaleidoscope of his inimitable musical colors that have forever changed and enriched the international music scene.

Trained in Western classical music at the Trinity College of Music in Britain, the "Mozart of Madras," as he is affectionately known, has composed music for nearly 100 films in Hindi, Tamil and Telugu. He also composed the music for the Lord of the Rings musical, based on the acclaimed, sci-fi bestseller and movie. He is also the recipient of the Padmashri award.

At a retrospective of his works at Stanford University, Rahman strode into the Braun Music Center rehearsal hall to pin drop silence. He casually smiles at the student organizers for the evening's function, glances at his watch and apologizes: "Sorry I am late. I had to make an unplanned stop at Wal-Mart," drawing peals of laughter. The ice is broken.

Dressed in casual white trousers and a shirt, he is sporting a crew cut hairstyle, a far cry from his trademark curly locks from "Ma Tujhe Salaam." "It didn't suit me!" he says laughing at his own joke.

As everyone scurries around to make him feel comfortable, Rahman announces, "How about having some food while we talk?" Everybody responds enthusiastically and over steaming hot idlis, lemon rice, and besan halwa, the man of the moment talks about his music, his life, and his future.

In an exclusive interview with Little India, A.R. Rahman shares snippets about the most precious part of his life -- his music and how he creates magic that transcends geographical barriers and touches the deep core of a listener's heart.

. Is your style of composing more methodical or is it more spontaneous? By methodical, I mean do you follow a similar pattern while composing music or do you just let your mind free and it just comes to you in a sudden moment?

It is more spontaneous, I would say. At the same time, my style is not completely intuitive. I believe in testing my music thoroughly before I share it with the world. Sometimes notes just come to my mind and I compose something. After hearing it two-three times, I suddenly start disliking the piece (smiles). The same cluster of notes that sounded so melodious and catchy just two-three days back now start sounding routine and mundane. It is surprising, but this has happened several times with me.

Sometimes, I just discard the entire notation; sometimes I decide to give it a little bit of twist here and there to create something better and then there are times when I have to really do a big overhaul to give the notations a different look. I just go by my instincts when I am doing this "repair work." Many times, I just blank my mind, pray and play around with a few notes to come up with a composition. Also, as I always say, music is a spiritual thing not a formula.

Is there a particular raga that you keep going back to when you are composing? Is there a favorite for you?

Raag Des? (laughs). Everyone says I keep composing in Des. Yes there are some rags that I like a lot and sometimes I keep going towards them and I have to stop myself from going there while composing every tune. In Lord of the Rings musical, you are going to hear a lot of Indian classical music getting blended into some interesting western music, it is going to be a concoction that many will love. Imagine the characters of Lord of the Rings and then imagine the notes of raag darbari and raag yaman kalyan intermingling in the background! (smiles slyly).

What about your 'famous' working hours? Is it true that you work the whole night and sleep in the mornings?

Yes, it is true (laughs loudly). My music making schedule starts at around 6 p.m. or 7 p.m. and then goes on till 6 a.m. It is so quiet at night and the earlier hours of dawn, I just love it. Lataji was really surprised when she came to know my schedule, so for her one time I recorded in the morning (Smiles shyly). Another thing is that I only work in my studio in Chennai. It is not a very big place but it is equipped with everything that I need to create what I do.

It's been a while since you have gone international. How did it happen?

Andrew Lloyd Webber, who is a very well known composer of musicals, hired me to compose his maiden stage production Bombay Dreams. It cost about $7 million and was one of the more expensive Broadway productions then. Before, I also worked on the theme song for the Indian version of the Chinese/English costume drama Warriors of Heaven and Earth with the background of the ancient Silk Route. I used Chinese, Turkish and Indian musical instruments. We got the music recorded in Prague. I composed this soundtrack in just three days!

Actually to tell you the truth, I was really scared to compose in any other language than Tamil when I first started out. Back then, composing for a Hindi movie was a big step for me. And now, I feel composing in English is a lot of fun and I find it easy as compared to composing for any other language! Music should have no bounds. As a music director sometimes I am amazed by how well the music I make fits into a language that I don't even know! I can still convey the emotions through my music. That is the beauty in music. There are no language or religious barriers in music!

Are you a very religious person?

Yes. I believe that my highest musical inspiration comes from Allah. I was here two days back listening to Farid Ayaz and his qawwali ensemble perform at this festival. I just closed my eyes and listened and was completely lost in their compositions.

It is believed that creative people need stimulants to create great music. Any comments?

I always thought that every creative person in the music world had to drink or take dope to be a good artist or composer. But then I heard Ilayaraja. He was making such beautiful music and leading a pure life. I was under the impression that if it's music, whoever it is, they must have some bad habit. I always thought they have to drink, smoke and have cocaine to get their inspiration. The man who changed these impressions altogether was Ilayaraja. He proved that he can make good music without any bad habits. Even now he is an inspiration for me being so religious today and with the grace of God, I don't need to drink or smoke to make my music.

A.R. Rehman is a phenomenon not only in the Indian film industry, but also in the world music scene. How does it feel to be so popular? Does this popularity come with more responsibility and expectations from everyone to outdo oneself every time?

Scarry? (laughs). Expectations are there. But, I am a human being too. Even I have good and bad days. When I am composing, I just shut myself out from everything. It is just me and my music and the various sounds and beats that influence and inspire me. At this time, I don't think about expectations or timelines. I just take my time to feel every note and compose. By the grace of my God, I compose music that everyone likes and accepts.

You have been often criticized in the media for only using very feminine and shrill voices and never experimenting with husky ones as far as women singers go. What kind of voices do you like? Who are some of your favorite singers?

Yes, I do go for softer voices. I like delicate and soft voices, but most importantly, I like voices that have their own distinct personality. I don't want voices that sound like Ashaji's or Lataji's voices! Also for all songs I have different voice requirements and that is why so many singers have sung for me. I also am very open to hearing new voices. I will be sinning if I don't provide an opportunity to talented people. Sometimes, I hear a voice and instantly know where it will fit.

For example when I composed "Luki Chupi" for Rang de Basanti, I knew from the beginning that it was a song made for Lataji's voice. Favorite singers? I don't want to say someone's name and then just upset the others! But I really like voices of Hariharan and of course Ashaji and Lataji's voices.

According to you, what is the single most compelling factor in your music?

I think it is the right combination of melody and tempo. To achieve this balance is very tricky. Sometimes you fall in love with some notes so much that you ignore the importance of the beats that is going to make those notes sound even more melodious. I feel that in my songs I am able to achieve a balance between the melody and the tempo so even though "Chaiyya Chaiyaa" is foot-tapping, it is extremely melodious too.

Does music have the power to bring peace?

Music is very powerful but since it does not use any physical force to get its message across, it is not considered as an influential tool. Yes, I believe music has power to bring peace, both within oneself and also among people.

What is a typical day in the life of A.R. Rahman?

It's very boring you don't want to know (laughs loudly). The typical day in the life of A.R.Rahman doesn't include any socializing, interviewing or partying. I am a very solitary person and prefer to spend my time in my studio surrounded by my music systems, my instruments and my musical gadgets.

Sometimes when I am listening to a song, I don't know the composer but yet I can say it is a composition by Rahman. What is this intangible something that makes the song your song?

I think it is personality. Just like every person talks differently, walks differently, my compositions reflect my personality and maybe my listeners know it and catch my tune.

What do you do when you are not composing music?

I like spending time alone with my family. It is a very peaceful feeling. My wife and three kids also travel with me whenever possible. Apart from that, when I am not composing music, I don't feel alright. I just feel an urge to get to my studio and start composing. I keep thinking about some tune that I heard somewhere and keep humming it.

In Indian cinema, whose music are you most influenced by?

I love hearing R.D.Burman and Naushad compositions. These days I am also discovering a new love for Madan Mohan compositions. I am also learning Hindustani classical music from Ustad Ghulam Mustafa Khan.

What would you be doing if you were not composing music?

I would have been a car chauffeur probably!

As Rahman stepped into the Dinkelspiel Auditorium for the felicitation function of the evening, the 300 plus strong bay area crowd cheered. Amidst loud cries of "We love you Rahman" and shrill whistles, a visual presentation traced the history of Indian film music before 25-year-old energetic Rahman burst onto the scene in 1991 with Roja.

As the variegated clips from Roja, Minsara Kanavu (Tamil), Rangeela, Bombay, Lagaan, Gentleman, Yuva, Saathiya, Tehzeeb, Meenaxi, Swades, Bombay Dreams, Warriors of Heaven and Earth, and Rang De Basanti appear on the screen, the audience cheers.

What is most attractive about Rahman's music is his ability to link modern rhythms with Indian classical and folk music. Rahman borrows equally beautifully from rap, disco, folk, reggae, Jazz, Qawaali, Hindustani and Carnatic music. Rahman plays a variety of instruments too. Remember the utterly unforgettable harmonium number between the vocals in "Kehna hi Kya"? Rahman's magic fingers are at work there.

As the program draws to an end, Rahman announces, "I almost forgot, someone asked me to sing here!" To loud cheers he sings "Dil Se."

As I rush over to him for one last question, he smiles broadly and with his eyes twinkling says, "Ask me two!" In that moment, he is not only the Mozart of Madras, the Isai Arasan (Emperor of Music) and the Isai Puyal (Musical Storm); he is also a person blessed with a heart of gold.

I don't have any dream project: A.R. Rahman

New Delhi, July 5 (IANS) Music director A.R. Rahman, who gave splendid music in films like 'Dil Se', 'Saathiya', 'Taal', 'Swades' and 'Rang De Basanti', says period movies give a music director an opportunity to learn and experiment.

'It also depends a lot on the director whether he wants the music of his movie according to the corresponding era or he is open to experimenting. Several musical instruments present today were absent in the past. But still we can use them for making music for a historical provided it sounds good,' Rahman told the entertainment portal bollywoodcountry.com.

Rahman has plenty of international projects in his kitty, including Shekhar Kapur's 'Elizabeth II' and 'Lord Of The Rings Musical'.

Excerpts from the interview:

Q: What are your forthcoming releases?

A: Well, I am looking forward to Mani Ratnam's 'Guru', as I have put in a lot of hard work in the project. Moreover, it is great working with Mani and Gulzar. We make a good team and are coming back together after a gap of two years.



Q: With 'Jodha Akbar' you add another period movie to your list. Any personal reasons for signing period movies?

A: Nothing like that. It's just that directors approach me with good projects.



Q: How is it composing music for period movies?

A: Period movies give you a chance to learn and experiment. It also depends a lot on the director too - whether he wants the music of his movie according to the corresponding era or he is open to experimentation.

Several musical instruments present today were absent in the past. But still we can use them for making music for a historical provided it sounds good. For example - the music in 'Moulin Rouge' used drums and it sounded good. But, as I said, a lot depends on the director.



Q: It is heard that you have signed Bappi Lahiri to sing a song in 'Guru'?

A: Yes, Bappi Lahiri has sung a song for 'Guru'. I heard him sing at an award function and asked him to sing for 'Guru'. Moreover, the song is a Bengali number and Bappi sounds good in it.



Q: Is it true that you are a fan of new music sensation Himesh Reshammiya?

A: Yes, I like one of his songs. The one called 'Aashiq banaya aapne'.



Q: Recently you composed music for several commercials.

A: See, I started my career composing for commercials and then moved on to films. Now I am back again composing music for commercials. So I think my life has come full circle.



Q: What is more challenging - composing for commercials or films?

A: For me it is equally challenging because it takes the same amount of dedication, energy and time.



Q: You were famous for your weird working hours - from midnight till morning. Are you still continuing the same?

A: (laughs...) Ya, I am very much the same with the same working hours.



Q: So when do you sleep?

A: I sleep from 9 in the morning till 3 in the afternoon.



Q: Tell us about your international projects?

A: I would be working on Shekar Kapur's 'Elizabeth II', 'Lord Of The Rings Musical' and there are plans to collaborate with a very big international guitarist whose name I cannot divulge right now.



Q: Are you happy with the state of music in India?



A: In India, people just listen to film music. I think that attitude needs to be changed. We should be open to all forms of music.



Q: Any dream project?



A: I don't have any dream project. Even the little success I have till now seems like a dream to me.

Copyright Indo-Asian News Service

Of rhythm and soul

With his debut film, 'Roja,' A.R. Rahman redefined the sound of Indian film music, won the National award and made himself heard in the Indian music industry. However, Rahman, the person and the musician, remains unchanged. Fame and adulation rest lightly on his shoulders.

Plans India is so rich in culture and it has so much to give to the world - ethics, music, fashion... The rest of the world has been clouded by the American dream. But now we can give to America. That is very interesting. I am waiting for the day when we get an Oscar, Grammy... all simultaneously. The day is not far away.

For every celebrity, fame is a momentary thing...

Back in Chennai after nearly two years of hectic travelling for his international assignments, including Bombay Dreams, he looks visibly pleased that many of his projects, which were stuck in the cans are now being released. At his studio-cum- residence, with daughters Khadija and Rafiya playing nearby and trying to grab his attention, the maestro spoke to this website's newspaper about his music, international projects and other plans. Excerpts.

Recently we saw you in the Airtel advertisements. Are you planning to take modeling seriously?

(Laughs) No. Basically, the main reason I did the Airtel campaign was because I wanted to connect with people again and put to rest rumours that I am going to settle abroad. Also, I felt that the campaign's concept suited me as I was not force selling anything. It was just me doing what I normally do.

How is the response for Kadhal Virus?

It's too early to say. The album was released only last week, but I have got some e- mails from the US and other places saying that they liked the songs. However, I think it will take some time to get the clear picture.

Are you satisfied with your work in the superstar's Baba?

Within the given time limit and challenges, I think my compositions for Baba tried to serve the movie. Also, there were two more extra songs in the movie, which we could not include in the cassette. Those who saw the movie liked those additional songs, especially the rap. I feel that if they had been included, the album would have been more complete.

You have always said that a new universal sound exists. Do you think that view still holds good ?

There is a music that appeals to everyone. But when everyone tries to do the same thing it becomes confusing and the exclusivity is lost. Also, the sound should match the subject. We can't have villagers suddenly bursting into a Spanish song. But unfortunately that's been the recent trend.

Have you ever felt the need to reinvent yourself?

I have felt the need to reinvent myself after every film. Because the moment a musician shows signs of favouritism for a particular raag or instrument, then his compositions begin to sound repetitive. Also, it irritates the ears to hear the same thing again. But sometimes it's inevitable, we have to use a particular raag to get a particular feel, even if it has been used before.

Why didn't you use tunes from your earlier movies like Roja or Puthiya Mugam for Bombay Dreams?

My earlier tunes were melodic. Since, Andrew Lloyd Webber wanted tunes which were commercial, we used the later ones. In fact, it was only with Shankar's Gentleman that I began composing commercial tunes. When I started out, I didn't want to compose commercial tunes as I had been playing such tunes for other music directors and was tired of them. But Gentleman demanded such tunes.

However, some commercial tunes have their limitations as they have a very short life. Whereas you can listen to something like Roja even now.

How do you feel when Andrew Lloyd Webber compared you with Paul McCartney?

I think for a composer of Andrew Lloyd Webber's calibre it's very kind of him to say such things.

Can you tell use something about the new state-of-the-art studio you are building?

That's my gamble in life. Whatever I earn, I put it in my equipments and studio. The idea started in 1997 when there was no surround sound or other advanced recording facilities in Chennai. I was in a dilemma as to whether I should go ahead with my plans or not. One day I decided to go ahead. However, there are still some structural complications, which we hope to sort out soon.

Why are you composing for so many historicals?

I think it's because historicals give me the opportunity to compose melodies. It's almost like an escapism to the earlier days of film music, when music had a poetic quality to it rather than the mostly dance-oriented pieces we compose now.

Why aren't you singing much these days?

I am singing a number in the forthcoming film Saathiya. But as a composer I feel I should be objective and realise that only certain songs will sound nice if I sing them. Also, when I do an album, which I plan to (with Sony Music), I want my voice to sound exclusive and fresh.

Are all the songs in Saathiya remixed from Alaipayuthey?

No, almost 40 per cent of the songs are new.

What are the future projects you look forward to?

I am doing Subhash Ghai's new film. Besides that there is Shankar's Boys, Parthiban's Yelelo and S J Suryah's New. There is one more international project, which will be announced soon. It's a Hollywood production but the subject is not restricted to the US. It's a world movie.

Do you read messages posted by your fans on websites?

Yes, I do read the messages when I find the time. However, in one of the websites it is wrongly mentioned that my family embraced Islam after my sister fell ill. It is not so. We embraced Islam following my father's illness.

If you were to compose Roja on Thursday, would you do it differently?

It's a difficult question, but Roja is one film which I have never felt that I should have anything differently. There are lots of other films which I thought could have been done differently. Then again, music is God-given. I don't think anything less or more is possible.

Has it become more difficult to satisfy your fans these days because of their rising expectations?

It's good that they expect more from me. Most often we don't push ourselves enough. But when people demand more, we work harder and do better. Like for Kadhal Virus if the fans like the new things that I have tried out in the film, then it will encourage me to be more innovative.

Do you ever get scared that one day you may lose all your fame?

I believe that each moment of my life is a challenge given to me by God. It's the will of God guiding me. This way I start from scratch every time. For instance, even in the case of Bombay Dreams, I almost said no to it as I was under a lot of pressure. But by the grace of God, I accepted it and am glad for having done so. For every celebrity, fame is a momentary thing...

Do you have any childhood friends?

I have many director friends, but no one whom I can call my childhood friend. Because my life has always been a journey with no permanent friends.

Do you play any sport ?

Music (laughs). Usually, when I come out of the studio I am almost exhausted physically and mentally. After that I want to crash out or spend my time in spiritual pursuits, rather than do physical exercise and get more tired.

What do you think of the new generation of music directors in the Tamil industry?

I think most of them are very challenging and come up with some extraordinary stuff. As for moving in a different direction while keeping the authenticity of the 1950s and 60s, I don't think that's happening. I think what has improved extraordinarily is music production and recording. Substance-wise, we still have miles to go.

How do you feel when people compare Harris Jayaraj's music to yours?

Very flattering! I think it's inevitable that comparisons will take place, because I have been here for 10 years. I am happy that Vidyasagar is now getting the recognition he deserves, as it was long overdue for him. Do you know we studied music together? We had joined together for Dhanraj master's classes in Mylapore.

Is there any recent album you liked a lot?

I liked Devdas, especially the production part. It's ethnic and different.

Why do you think Tamil Nadu has so many talented music directors?

I think it's because Chennai was the centre for art until a few years ago. So we were influenced by the best of Malayalam, Telugu, Kannada and Tamil. I feel really sad that the others (Malayalam, Telugu and Kannada) have split from us and gone their own ways. It's going to take time for them to get to where we all started off from. (Pauses) We could have been like another Hollywood, but now its difficult!

Most Tamil musicians are deeply religious. Do you think religion helps a composer create better music?

For me, spirituality helps me to empty my ego and become non-existent. So, I feel whatever I compose comes from God. It's a different feeling, I don't know how to express it in words. Also, when you are religious it helps keep your mind focussed.

Has Yelelo been shelved?

No, it has not been shelved. But Parthiban was busy with some of his assignments and I was busy with mine. It's a classic project, so it can take the time.

Is it true that former chief minister Karunanidhi has written the lyrics for a song in Yelelo?

Yes, he has written the lyrics for a Pongal song.

Are you frustrated that many of your films have been shelved?

Yes, in the last two years alone, around nine projects have been shelved. But thankfully they are being released now. Even in Tamil, if you take the good ones like Kadhal Virus and Udaya, they were not released due to various reasons. They are coming out now, and the timing is also perfect as I was not physically here for the past two years.

Will the music of Udaya (starring Vijay) ever be released?

Yes, we just finished the CD master.

Is there anything you would like to change about yourself?

Everybody has their complexes. And I started out with mine. It's like the colours. There's a little bit of green, red or blue in every colour. It's only the percentage that varies. If I lack in something, God has given me a little extra in something else.

Is it true that Viva has recorded a song for you?

Yes, for a film to be directed by Ahmed Khan.

Excerpts from an interview:

Rang De Basanti's album has been well liked. How do you feel about it?

I wanted the music to get admired and accepted and I had put in my strenuous effort for it. But for the success of the music I have to give partial credit to Rakeysh Mehra. His enthusiasm has been my force and energy. The music workshop before composing helped me in a great way to understand the sequence better and compose likewise. I went ahead and experimented and put a slow song just before the interval and it worked positively. I'm happy that Rakeysh Mehra treated the music in the film so well. Lyricist Prasoon Joshi, Rakeysh and me were adamant that the songs of RDB have to be chart busting.

Your equation with Aamir is good and may be that's the reason you always give good music for him.

Yes for Lagaan we surely did justice to each other. But Mangal Pandey received a mixed response. Being a composer I was not satisfied with the way the music was treated in the film. My favourite track 'Maula' was chopped, but these things are not in my hand.

Do you agree that your Bollywood career had come to a halt and RDB revived it once again?

I disagree to it. The films that I was supposed to do got held up. So I was delivering music in breaks. Simultaneously I was also handling overseas assignments and also traveling regularly. There was so much to do there, Bombay Dreams, the stage version of Lord Of The Rings. Bombay Dreams paved the way for my international career. This projects meant a lot to me because they were my platform to my international career. It has really eluded me and I've gained the position through lots of hard work. But India is still prior to me and I'm composing music here as well.

What are the assignments that you are doing currently?

What are the Indian films that you're composing for?

I've restricted most of my works for musical and period films. There is Ashutosh Gowariker's 'Jodha-Akbar', Shyam Benegal's 'Chamki Chameli', Raj Santoshi's 'London Dreams', Mani Rathnam's 'Guru' and Rakeysh Mehra's 'Bhairavi'. For all of them I'm composing different music based on lots of research.

You also played in the US universities last month. How was it?

They have been playing my music for sometime now and were interested to do a world concert with me. I performed at the Global Rhythms in Michigan and at the Utah University. 152 people performed on stage in Tamil, Hindi and English.

Are you going to concentrate more on international project?

Hindi and Tamil films will always be a priority to me. Other international projects will only come next to it. I'm getting lot of overseas assignment but my work here is also important. I've invested lot in my Chennai studio, the only thing left to be done is to manage time.

Copyright 2006 by MusicIndiaOnLine.com

AR Rahman Full Transcript

LH: Lorraine Hahn
AR: AR Rahman

LH: Hello and welcome to Talk Asia, I'm Lorraine Hahn. My guest today has been described as the greatest Indian composer of his generation- A.R. Rahman.

Born in India in 1966, Rahman was heavily influenced as a child by his father, a musical arranger. By the age of 4 he could play tunes on the harmonium, and by 11 he was working as a professional musician, financially supporting his family after his fathers death. In 1991 a chance meeting with director Mani Ratnam led to an opportunity to write the score for the film Roja. Both the movie and the soundtrack were such hits that it catapulted Rahman to stardom overnight.

Since then he has scored more than 50 movies and released a series of successful albums. So revered is he in India, that he was bestowed the Padma Shri title in 2002, India 's highest civilian award.

Block A

LH: Mr. Rahman thank you very much for spending some time with us. I wanted to ask you about yr new musical -- The Lord of the rings, adaptation of the J.R. Tolkien famous book: How did you get involved with this?

AR: Well, you know about my Bombay Dreams venture with Andrew Lloyd Webber, it happened in 2002, and it had this whole team -- like Chris Webber Nightingale was the music supervisor on that and Kevin Wallace was with Andrew Lloyd Webber, who's the producer for Lord of the Rings. I think suddenly they realized that, they had signed Vrttin the Finnish band to write the score, and then they said it would be nice to have AR for the score too. And then I got a call and I said 'Ok lets join them' and that's how I came into that.

LH: Is it going to be another huge production, like Bombay Dreams -- or what can we expect?

AR: It's probably 10 times more than Bombay Dreams! (LH: Oh my God!) You have like 18 hydraulics moving on stage, you have a three and a half hour...amazing stuff!

LH: Right. Again, you are no stranger to international musicals -- you mentioned Bombay dreams. Did that, Bombay -- did that play, that musical take your career to the one step further internationally?

AR: I think so! I think it's a big step for me -- it's a big step because, of course lot of Asians around the world love my music -- and they've introduced my music to other people but a normal European or American who don't know my music, this is one of the biggest step, and I think now after doing it's 2 years in London and 8 months in New York, in Broadway, I think its going to tour now -- I'm looking forward to that. (LH: Yeah that's so exciting) It is.

LH: What is it like to work with someone like Andrew Lloyd Webber?

AR: Well, it's two different cultures totally -- I used to have a room in his apartment, in one of the apartments he gave, and he used to come, and he used to take off his shoes before coming in, that's the type of respect he gave for my culture, which is amazing, yeah.

LH: I mean, is he a tough person to please?

AR: No, he is a very sweet person, and he was very encouraging to me, and he's done quite a lot of stuff for me actually.

LH: And you've learnt a lot from him, I presume?

AR: Yes, I was a big fan -- I am a fan too. And from that, I think he was the one who picked most of the numbers which I had already done -- like Chaya Chaya and Taal . I said 'these were my favorites, and this has to be your musical', and that's the reason all my old stuff came into the thing. Apart from "The Journey Home", and all the other numbers which are new were written with Don Black.

LH: How different an experience was it for you to compare, lets say, working on Bombay Dreams, with any other project you have done in the past?

AR: The biggest thing to break ice, in Bombay Dreams, was to do something in English. Because I've never done an English song, I mean a proper English song in any film. And for me, I said 'is it going to work in English, is it going to sound too corny with Asian influence and stuff?'. But everything became -- I started getting acquainted with Don Black -- he was the writer for that, and then he made it very easy for me and gave me all these titles for me like 'Journey Home' and stuff, and then it all fell into it naturally.

LH: Right. Bombay Dreams obviously popularized your name international into western household, but it also popularized Indian culture, Indian music. How important was that for you?

AR: It's something which was never intended! Exactly, when I used to meet Asians in the flight they used to say 'Oh, now we can just lift our collars and go man, you made us do that!' And that is very moving for me, you know? Being a musician and the sort of hatred around the world, and me coming from Islam -- a Muslim, I think it was a big thing for me. I got very touched by all the statements which came from Americans, Europeans and Asians and all those people.

LH - You've scored a number of wonderful movies, Indian films -- like Lagaan. Do you have a favorite?

AR: Yes of course -- I think that Lagaan was a very complete movie. Representing Indian culture, Indian songs with pride -- not being apologetic about it and all that stuff. And the recent Rang de Basanti, which is again a very different kind of direction for me, going counterpoint from the film, not going with the film (LH: Why, why was it?) we were just doing the opposites in the film, in the film -- something very serious happens but we were just going with a guitar singing a very jolly song! So that's a step forwards for Indian films, I think.

LH: Right, Roja as well -- is one of your early films?

AR: Yeah, that's like a good news which I got from Time magazine -- ten top soundtracks of the world, or something like that.

LH: I mean that changed the face of the Indian film industry -- right?

AR: That's what they say! (LH: Do you think so?) Yes in a way. (LH: How?) There was a shell for the sound- generally it used to be 'this is the sound, this is the Indian sound' -- and Roja was breaking all those. Not taking any traditional singers, not taking any traditional instruments, and recording in a small room -- my home studio, and then becoming big -- it was a big statement!

LH: It's very important, that.

AR: It is important.

LH: Bollywood, where do you think it's heading these days?

AR: I see two kinds of things happening. One is a step forward, and one is a step backwards also. Because people are seeing loads of things on satellite TV and stuff. They know that nobody can bullshit them now -- nobody can copy anything or rip anything off because now they know it bang on that this is something. So that's all good. And I think there are two things, one kind of filmmakers are avoiding songs -- saying that its going to break, and another filmmaker is going full fledged with songs: 'this is the music I'm really proud of' -- that sort of thing. I'm getting associated with both of them.

LH: You find that Bollywood then, is heading...?

AR: And they are also very ambitious, I think now. They want to virimusker???, (TC -- 00:31:58) I don't know for what reason. Which is good to be ambitious, and going forward.

LH: That's good

AR: That's good

LH: What about new talent? Evolving talent? Is that where Bollywood is also pursuing?

AR: Yeah, things which was impossible probably 3-4 years back, and people would just put you off -- are now saying 'yeah maybe'. They are more open to things which are new, which is amazing.

LH: Is Hollywood then the next step for you?

AR: I'm in and out of it actually. Actually, some of my scores have been used for Lord of War, and Spike Lee's new film -- a kind of song which is used. And so I am in and out of it actually, the full fledged Hollywood film -- I would rather work with a person who understand me, or who likes my music, who is friendly to me. (LH: Any idea who?) I don't want to just jump in and go 'Oh, Hollywood here -- and then fall flat!.'

LH: Any ideas who would be that person?

AR: Well, I've been- Baz Lurhmann came for my concert in Australia, and then we just had a talk and he's a very -- he's a big fan of Bollywood and stuff like that. I wouldn't say Bollywood, I would say Hindi film industry. But he's a master musical maker I think and I'm a big fan of his. We might...I don't know, never know.

LH: Wow, that'll be quite a pairing! Mr. Rahman, we are going to take a very, very short break. Don't go away, Talk Asia will be right back with Indian composer AR Rahman. Stay with us.

Block B

LH: Welcome back, I'm talking with Indian composer, AR Rahman. Mr. Rahman, you showed a lot of musical promise at a very, very young age, I read that 4 years old you could already play the harmonium. I mean, how did you manage that?

AR: I think it's the blood! Having a composer father, I think it's quite natural.

LH: So it's what, almost like watching your father..?

AR: Yes, I use to go with my father to all the places he used to work, and I still have those memories with me.

LH: Right, that's amazing, I know you rarely speak about your father and I hope you don't mind me asking you a little bit about him?

AR: Well, I think (LH: he was very influential right?) Yeah he was a very hardworking person, he used to work in 3-4 places at the same time. And all the studios was just next to him. And I've seen him work, he's a really hard worker. And I think this is one of the reasons he died so early, he died when I was just 9 years. And only good will was there with everyone -- all the fellow musicians about him, and good things to say. And so, it's a good thing for me because when you have such a father you always want to take it further than...you know? And my journey has been like that, so...

LH: I mean he was a musical arranger, a very well-respected one at that! Right? (AR: Yes) What do you remember most about your father?

AR: Well, all I know is his first film was released the day he died. The same day -- I think it's, I don't know -- destiny. Maybe all that suffering which he went through, is now god is giving it back to me -- in a nice way. Easy fame, and stuff all that. (LH: No it's not, its not easy) It's not easy, of course, but I'm just saying...

LH: You are carrying on his legacy, so to speak then?

AR: Yeah.

LH: When he passed away, you mentioned you were very young -- 9 years old. I read that a lot of burden was put on your shoulders, to provide for your mother and your siblings. Is that true?

AR: Yeah, in a way actually. At the age of 13 or 14, I had to go to school as well as work. I used to be a roady kind of thing, set up instruments for people. And at the age of 18 I started composing commercials and stuff like that, which was -- then life became interesting.

LH: Right, so before then it was really a matter of making money?

AR: Yeah

LH: And when did it suddenly change when it became a career? A love? When was it, when was the turning point?

AR: The turning point I think was when I was 18 -- 23 when I met Mani Ratnam -- when I got the opportunity to do Roja. So I had one of the leading producers, and a legendry filmmaker called Balachander, he produced a film and this legendary director whom I was a very big fan of -- Mani Ratnam -- all these things came together, unusual things. And I felt that something is happening!

LH: Almost like fate. (AR: Yeah it is) I read also that you are quite interested in technology.

AR: Yeah I was a big fan of electronics, in my teens, and things that- later on in my life, both of them came together. When computer music, and computers and all this stuff came -- yeah it was fun

LH: You dropped out of school, you worked, you even -- but after that you even came back to win a scholarship.

AR: For me what happened was, I was working and then I suddenly met my master who was Jacob John. He said 'I know your father, and you should not be doing this you should be working and learning more!' And then he wanted me to come to his thing, and then he made me write the exam of Trinity College in Chennai -- which I got scholarship and all this stuff.

It was the understanding of the Western classical music which is very important -- and now it's helped me a great deal actually.

LH: How do you see this sort of Western and Eastern classical music complimenting each other?

AR: My biggest dream now is to start a classical conservatory in India, or Chennai. And a lot of friends have come forward and helped me out. I think the discipline of classical music is very important -- and then we can ring in the eastern element in it. And make it something that is wild and exciting for classical music, which it needs now to pull a young audience back into, you know? (LH: That's right) All those opera houses!

LH: Nowadays as well, a lot of people listen to music, to songs in different languages.

AR: What I understand of music is -- it doesn't need a language. When I listen to western classical, or when I listen to African zulu music or I listen to Islamic music -- or anything. It's not the words which matter, it's the words combining with music and getting another dimension to it, another kind of spirit which comes out of it. That's more important I think.

LH: Mr. Rahman we are going to take another very, very short break. Stick around, Talk Asia will be right back with AR Rahman.

Block C

LH: Welcome back to Talk Asia, my guest is Indian composer Mr. AR Rahman. Mr. Rahman, religion seems to be very important to you. How important?

AR: For me, being influenced by Sufism is very important. The base, my whole breath is the spirit, and divinity and stuff like that. And before music it's again that, cleansing my mind and all that stuff. And success and failure, everything is from god - that's my kind of vision for myself. And what I believe is there's divinity in every human being, evening in an atheist and whatever religion. I need to respect every person, I need to love every person because he or she is the co creation. So that's my theory of life!

LH: You weren't born a Muslim though, right? You converted in your 20s -- what was the turning point?

AR: well, when my father died we had a spiritual healer which met us. He kind of foresaw my whole future, and all this stuff he said 'you will come to me after 10 years and this is going to happen to you' I said -- what is he saying? And then it all happened, and then my studio was built and then I started getting intrigued by Islam and Sufism. So what I did was, with my first movie Roja, I changed my name to AR Rahman, which is Allah Rakha Rahman. And it's been- I've been opening doors of spirituality one by one.

LH: Now your name, AR Rahman, was chosen for you by an astrologer -- correct?

AR: In a way, and not in a way -- because he had a choice of 7 names or something, different religious names and I loved this name. (LH: So you effectively chose your own name?) Yeah!

LH: Being a devout Muslim now, how has that affected you professionally -- and personally?

AR: In Tamil Nadu usually any Muslim who comes into the film industry would change his name into a non-Muslim name, and he will survive like that. For me, I did the opposite. Me coming from a Hindu religion before, and then going into the film industry I wanted AR Rahman as my name. And people are laughing at me 'what are you doing?' and I say, this is it -- this is my way of life from now onwards. And that's what happened, and then Roja became a big hit and then I had so much encouragement from Mani Ratnam, whose the director. And it got me all the awards ever thought of, like national awards, state awards, and all the stuff. It gave me respect, and then it gave me opportunity to do better stuff and get out of mediocrity.

LH: And all through your development stage, your family has always been behind you, always supported you (AR: Yeah) -- even through your change of religion? (AR: Yeah) And everything? That is amazing. That is important isn't it, (AR: Yeah) for somebody. Because you don't see to be the type of person that would listen to too many people -- you are pretty strong minded am I correct?

AR: Yeah. (LH: How do you-) I would listen to everyone and then do what I wanna do I guess!

LH: There's another word for that -- stubborn! How do you feel, on a more serious note, when you turn on the TV and you watch what's happening around the world. Muslims fighting, Muslims fighting against Christians, vice-versa, and how the world views Islam today?

AR: I think it's ignorance, first of all, lack of understanding. As a musician I feel, and that too coming from Islam, I feel that it's a very important role of mine to do to do things which politicians can't do. (LH: How?) By doing music, music doesn't -- you are not going to turn off something which says, oh it's an Islamic composer, its a Christian composer. I love Mozart, I love Bartok, I love Verdi and all that stuff but nobody is going to question that -- a piece of music is a piece of music. And then me doing Lord of the Rings, about music in the middle earth. So I think here, art can play a more important role, an artist should be like that -- creating bridges with people. And I think the government should be doing more to understand other cultures, not being arrogant and thinking 'that is bad, these people are bad, these people should be killed'. That word shouldn't come in -- it's explicit. I think that's the future, not just going killing and bombing people, just to understand them and loving them -- and that's the way to heal things.

LH: So as a musician, when you travel you try to make it a point to educate people?

AR: In a very sublime way, not direct. It happens automatically (LH: Right, right). When I do concerts I get people from all the communities, whether you take Bande Mataram, which is a very Hindu slogan -- it used to be that, and now me doing it joining along with Maa, Tujhe Salaam -- it's gone to a new level. And most Muslims, and Hindus accept it at the same time. That's a big step for me.

LH: Do you believe in destiny and karma?

AR: Yes, I do, I believe in prayers. I believe prayers from spiritual people and prayers for my mother -- and I think that's more important than -- I mean that can change destiny also. When you wish well for people. And I pray for the world- and world peace.

LH: Well Mr. Rahman we wish you all the very, very best. Thank you very much for spending time with us. And that is Talk Asia this week, my guest has been Indian composer extraordinaire AR Rahman. I'm Lorraine Hahn, let's talk again next week.

Indian composer brings Bollywood to Lord of the Rings

AM - Friday, 16 September , 2005 08:24:00
Reporter: Karen Barlow

Leaving Celebrity Status Behind

MINA, 12 January 2006 — From a non-believer to a worshipper; from polytheist to monotheist; from Dileep Kumar to Allah Rakha Rahman, the famous music wizard has come a long way. This journey, he says, has completely changed his outlook toward life.

Rahman is well-known in India. He revolutionized Bollywood music, giving it a new direction. But in Mina, the man was spiritually charged, relaxing in his camp after Isha prayers, remarkably very far from the rhythm of success.

He said that in India's film world, people change Muslim names to Hindu ones to get success but, "in my case it was just the opposite from Dileep Kumar to Allah Rakha Rahman — and I'm very proud of it."

Rahman's music is everywhere: in discotheques, in malls, at wedding parties, on satellite channels, in taxis. He is a celebrity in his own right. His face adorns the cover of every album he cuts. Autograph hunters hound him wherever he goes. A couple of companies have tried to lure him into product endorsements, but he refused, preferring to distance himself from the glare and the sometimes self-indulgent afterglow of fame.

Such was his attitude when Arab News met him yesterday in Mina after a hunt of five hours that had started just after Maghreb prayers.

Once a practitioner of idolatry, Rahman now talks about Islam like a scholar. He winced as he spoke about the ignorance of some Muslims and the divisions among them on trivial issues.

Rahman, who has come to perform his second Haj with his mother, utilized every bit of his stay in Mina, Arafat and Madinah in prayer and remembrance of God to "cleanse the inner self."

He said Islam is a religion of peace, love, coexistence, tolerance and modernity. But due to the behavior of a few of us, it's labeled as an intolerant orthodoxy. He says that the image of Islam is being tarnished by a small group of people and that Muslims must come forward to present before the world the correct picture of their divine faith.

"The enormity of their ignorance of the Islamic history and its code of conduct is mind-boggling. We should be united in fighting these elements for the cause of Islam," he said.

"Muslims should go to lengths to follow the basics, which say 'be kind to your neighbors, keep smiling when you meet others, pray and do charity.' We should serve humanity. We should not show hostility toward others, even to the followers of other faiths. This is what Islam stands for. We should present before the world a model through our behavior, nature and presentation. The Prophet Muhammad (peace be upon him) never used his sword to spread Islam; rather he spread the religion through his virtues, behavior, tolerance and righteousness. And this is what is needed to change today's distorted image of Islam."

Talking about his Haj, Rahman said, "Allah made it very easy for us. And up until now, I have enjoyed every bit of my stay in the holy land and I pray to Allah to accept my pilgrimage."

For him, the stoning ritual is a physical exercise that symbolizes internal struggle: "It means the defeat of temptation and killing the devil inside ourselves."

"I would like to tell you that this year I got the most precious gift on my birthday, Jan. 6. Allah gave me the opportunity to confine myself inside the Prophet's Mosque in Madinah and pray all through the day. Nothing could match this experience and that too on my birthday; I am extremely delighted and thankful to Allah," he said.

Rahman said that prayers release his tension and give him a sense of containment. He performs prayers despite heavy work pressure. "I am an artist, but despite tremendous work pressure I never skip prayers," he said. "I am very punctual in offering the day's all five prayers on time. This releases me from tension and gives me hope and confidence that the Lord is with me, that this is not the only world. It reminds me of the Day of Judgment."

It was in the year 1989 that he and his family embraced Islam.

Talking about his reversion, Rahman said, "The whole process started with a sequence of dream. It was in 1988. I was in Malaysia and had a dream of an old man who was asking me to embrace Islam. For the first time, I did not take it seriously, but then I saw the same dream several times and I discussed it with my mother. She encouraged me to go ahead and to respond to the call of the Almighty. Also, in 1988, one of my sisters fell seriously ill and in spite of the family's effort to cure her, her health deteriorated by the day. Then under the guidance of one Muslim religious leader we prayed to Allah, which did wonder for my sister and she made a miraculous comeback to life. Thus, began my journey from Dileep Kumar to A.R. Rahman."

He said the decision to embrace Islam was a mutual one with his mother. Not one to normally discuss this aspect of his private life, after taking a pause, Rahman narrates succinctly, "My mother and I resolved to follow one faith ... we wanted to cleanse ourselves of our sorrows."

After initial doubts, his three sisters also embraced Islam. For them he has tried to be a role model, he said. However, his eldest sister was divorced later.

Rahman began learning piano at the age of four. But life was not all that hunky-dory for the young boy who lost his father at the age of nine.

The responsibility of supporting his mother Kasturi (now Kareema Begum) and three sisters soon fell on his young shoulders. He began his prosperous musical career at age eleven out of necessity.

Rahman is married to Saira. They have three children: two girls, 10 and seven, and a three-year-old son.

Rahman performed his first Haj in 2004. This time, he is accompanying his mother.

"I wanted to bring my wife also for Haj this year, but since my son is only three years old, she could not make it. God willing, I will come again — next time with my wife and children," Rahman said.

Interview with A. R. Rahman

A.R.Rahman is a living legend. He never considers himself to be a genius. But, actually he is a super-genius.It takes time to actually meet him. So, we might get a different impression of him, before meeting him. But, once we go and meet him, we can understand him.

If we meet him and know him, we will start feeling that "we are nothing. Why should we lead a false life? Why cant we be true, like him." Even if our assistant says something to us, we wont feel like "who is he to tell me".

His popularity which started in Tamilnadu, has now spread throughout the world.
For his Lord of the Rings play, a very famous singer who is touted as "Chinese Madonna" came down for recording, to ARR's studio in Subbaraya Nagar, Chennai. Music recording for Hollywood movies have been done here. Times have changed. People used to go to Hollywood to compose for tamil movies - but now, music for hollywood movies are composed here! This also shows the technological advancement... Hollywood is not something great...Rahman shows us that even we can reach that standard!

The new studio that he has set up in Chennai is definitely up to hollywood standards. The re-recording for my movie NEW was done at Autograph Studio, London. This new ARR studio is better than Autograph studio in terms of technology and quality. It is God's boon to me that I get to work with him.

For Ah Aah, he composed all songs in Kodaikkanal. We got the lyrics ready for Varugirai Thodugirai before Rahman started composing. He generally likes composing for pre-written lyrics. Even for "Sakkarai Inikkira Sakkarai" from NEW, the lyrics were written first by Vali and then Rahman composed the tune. Rahman changed few words in those lyrics to suit the tune. This shows his command over tamil language. The changes/additions he makes to lyrics are very sweet and poetic. These are all just a few examples of his brilliance. I sometimes wonder, why I shouldn't ask him to pen the lyrics for a song!

Tamil consists of 3 basic elements - literature, music and acting. Though Rahman is an expert at the first two, he is very bad the the last one.. Yes.. This man can't act. He always portrays his true self.

If we dont like a tune that he has composed, we need not hesitate or think too much - we can just speak to him openly about this. He'll say "okay. i'll try"... But, if he is very confident about the tune, he'll say "no.. we'll go with this.. this will work"... And, that one will definitely become a super-hit!
The best example for this is "thottal poo malarum" song. Something really interesting happened...

SHOT 1

There are quite a few interesting incidents behind the making of the song "Thottal Poo malarum" from NEW. One day, I told A.R.Rahman, "Can you do a remix of a old tamil song for NEW?". He had never done a remix, so he told me that will not do a remix.
I requested him, "Sir, please… Lets remix the song "Pesuvadhu Kiliyaa". If you do a remix, that'll be great". He wasn't convinced. But, I did not give up. "Sir, think of it this way. If you remix that song, you will receive the blessings of lyricist Kannadasan (One of the all-time-best lyricists in Tamil) from up above!", I tried convincing him.
At one stage, unable to stand my pestering (!!!), he had tried it out. But according to him, it did not come out that well! But since I kept forcing him, he said, "Ok… I'll do ..But not this song… Shall I try "thottaal poo malarum". But, I will change the tune"
I hesitated a bit… I thought, "Aha!! The tune of the original song is good.. It would be nice if he changes only the rhythm. But he wants to change the tune itself!!" Rahman understood what I was thinking and immediately said, "I make good tunes, Surya!!!"
"Ooops… Sir, Don't mistake me!! Oh…My God!!!", I retreated… Rahman started laughing!!!
Then he asked me, "When does your shooting finish?". I told him it was at 1:30 am.. He asked me to come to his studio at 2:30 am.
--cut--

SHOT 2

I reach there at 2:30 am after the shooting to find the CD ready there, waiting for me! He had gone off to sleep just 5 minutes back, asking the people there to give the CD to me when I reach there! I get back to my car and played the CD. I was spell bound! I immediately realized that entire Tamilnadu is going to be spellbound over this song!
I called up choreographer Brinda, cinematographer Guhan and art-director Anand right away and asked them to come over to AVM Studios. Sincere persons that they are, they reached AVM by 3:00 am. I opened the doors of my car and played the song in high volume. They were enthralled! Their reaction to this song was same as that of mine!

Left AVM at around 4:15… Was so excited that I was in no mood to go home and sleep. So, I roamed all over Chennai in my car, listening to this song again and again. I reached home only at 6:00 am. I send a message to A.R.Rahman - "Hats off to you genius". That would have definitely brought a smile on his face!
--cut—

SHOT 3

There is one small similarity between both of us (I am happy to say thatthere is some similarity between me and the genius). Both of us are nocturnal creatures! Both of us like working in the nights.
The way he composes tunes is a beauty in itself. It is like a tapas. Unlike other music directors, he does not compose music, surrounded by people. Whoever be the director, he gets the "situation" for the song and composes the tune all alone. Will anyone do a tapas in the midst of a crowd?
You all will be surprised if you know how World's No.1 composer sleeps. For that, lets move to the next shot!
--cut—

SHOT 4

Once I had taken my brother-in-law along to ARR's studio for a recording. Work was going on till 4 am. Then Rahman came to me and said, "I feel very tired. I will sleep now, wake up at 6 and finish the work". Then he went off to sleep.
I came out, woke up my brother-in-law, who was sleeping in the visitor's area. "You want to see how Rahman sir sleeps?", I asked him and escorted him inside. We stealthily opened the door and went inside. There was "Isai Puyal" – sleeping in a corner of the singers' cabin - on the floor, even without a pillow – just like how people sleep on the "Thinnai" in villages.
My brother-in-law was shocked. "Such a "big" personality… sleeping like this… I am so surprised", he exclaimed. The fact that he was going to wake up at 6 am and continue his work was yet another surprise. Lots of such surprises surround the man!
One thing that Rahman does not like – flattery. Suppose we start praising him in front of him. He will tolerate it for about a minute. Then he will try to change the topic of discussion. Then, he will try to avoid us. If u still continue praising him, he will run away from the place!!!
--cut—

SHOT 5

God creates humans using flesh and blood. But for mothers, he just fills up with LOVE. I have got a loving and caring mom, Anandam. Similarly Rahman sir has also got a great mom - Kareena! Very spiritual person. She has unlimited devotion towards Allah.

The audio cassettes of NEW were released by both our moms. That was a memorable moment.
When Rahman has finished composing for a movie, the first copy does not go to the producer or the director. He give it to his mother. She goes to the mosque, offers the CD to God, prays and then returns it to Rahman. Be it Lagaan or whichever "big" movie it may be, the first CD always reaches his mom. Who else in the world, apart from a mother, would wish more for the success of a son? Very good character… A great woman.
There is a cupboard in Rahman's house. Since biggies like Ram Gopal Verma, Shankar, Mani Ratnam spend their nights working at their place, his mom makes snacks and delicacies (like murukku, seedai) and fills the cupboards with them. We do our work, munching these tasty delicacies. Some jolly moments!!!

WHAT is the one thing that has made you what you are today?

I can't limit it to one thing. But definitely it is passion, dedication, enthusiasm, well-wishers, all my singers and my team.

How did you begin?

I was selected for the scholarship in Trinity Music College of London. Later I returned to India with a dream of bringing an international and contemporary world perspective to Indian music. Slowly I initiated my own sound and recording studio and began experimenting in sound engineering, sound design and sound production. I started with a collection of sounds creating one of the most comprehensive sonic libraries in Asia.

A.R. Rahman as a person, what is he like? What do you enjoy apart from music?

I am a very simple person at heart. I enjoy time with my family in Chennai. I love having my family around. I also like catching up with friends and chatting.

With your music and a recording studio at home, how do your neighbours react while you belt out music (and we all know you do it at an ungodly hour)?

(Laughs) Thankfully they don't queue up! Seriously, my neighbours are not intrusive, there are some school kids who might use my music at night as an excuse not to go to school, but it's all good otherwise.

You seem to pick a nobody and make him or her a star. How do you recruit talent?

Well, they are singers with a passion. And I find them at auditions, through friends and at studios. I like working with raw talent and encouraging their voice. Recent finds such as Kailash Kher I feel is the "Chota Nusrat" and Madhushree who sang "Kisna" tunes is a dedicated and sincere singer.

We also have successful, established singers with passion I am sure... .

Yes, but these raw talents can be modulated, nurtured and moulded. And I love working with fresh voices.

We know that casting couches exist in the film industry. Do singing couches exist in the industry?

That is something I haven't been asked before. (Serious look)... Not in my case.

You have done many Bollywood films but also expressed disinterest in working in Bollywood. Why?

Too many period films in Hindi — "1947-Earth", "Zubeida", "Lagaan", "The Legend Of Bhagat Singh", "Water", "Bose: The Forgotten Hero", "Kisna". I've worked hard on each theme, but the end result hasn't been worth it. The songs were either pushed into the background or not used at all, or worse still, used badly. I feel very frustrated by this. But what can I do? Composing tunes is my job. How they are used is not.

How important is formal training for a singer?

Not much. One has to have the talent. Then with riyaz one can polish the voice.

Don't you thing that the guru-sishya breed is dying?

No. I still feel people, with a true passion and genuine interest, are willing to accept a guru and learn from them. It's always a two-way process. The guru learns too.

You have always claimed "Roja" is your personal best and always seem to deliver a hit for Mani Ratnam. Why the favouritism?

(Laughs loudly, pauses and then nods) Call it first love. Mani knows the art of using good music. Also "Roja" made me what I am. It was a turning point for me. Many films were being made. But "Roja" was a turning point for the music industry too.

You have recently penned the U.N.'s Poverty Anthem... how did this happen?

The U.N. approached me to either work on a "STOP TB" campaign or with poverty issues around the world. I felt drawn towards the plight of the poverty-stricken. Especially being an Indian, this was closest to my heart. I wrote it along with Blaze, a hip-hop rap artiste, and it is in English. The song is very emotional and close to my heart.

What other causes are close to your heart?

Child welfare, health issues and of course charities of any kind inspire me.

You have also sung "One Vision" penned by President A.P.J. Abdul Kalam?

Yes. The song has the conviction to touch each Indian; the belief to give voice to the children of India. The President is passionate about children; so am I. We have used the voices of children to elevate the experience. Also it comes with a promise of becoming the symbol of dreams for India's children.

"Bombay Dreams"... How did that happen?

I was keen to work on a musical dance extravaganza... When Andrew Lloyd Webber approached me and there was no looking back. And Shekhar Kapur who introduced me to Webber told me that he was impressed with my "Chaiya Chaiya" tune and wanted to meet me.

Your views on piracy? Being a "music legend", you have the right medium to spread the message, why haven't you come out and spoken about piracy?

I think piracy is bad and should be punished. But sadly India doesn't have strict laws to curb it. It is not under my control and there is no point in battling piracy unless the people realise that to support us artistes they need to buy original tracks. The onus is on the people to make a conscious decision. We showcased Indian culture to a global audience melodiously through music and gracefully through dance.

Upcoming project that fans should look out for?

"Rang De Basanti".

Your message for young singers?

Always follow your dreams.