An exclusive interview with A R Rehaman

How did Rang De Basanti’s soundtrack turn out so special? It was a special effort. Very rarely does one come across filmmakers who excite and enthuse you as much as Mani Rathnam, Ram Gopal Varma and Rakeysh Mehra. Just before shooting we did a workshop with all the music I had composed for my film. I discovered there was a slow song just before interval which was a no-no according to trade pundits. They were wrong. Earlier I had thought people would walk out in Tu hi re (Roja), O paalan haare (Lagaan) and now Lukka chuppi (Rang De Basanti). I was wrong. It all depends on how the director treats the music.

Your music has achieved the crossover which our cinema hasn’t. I hope so. Doing music for Deepa Mehta’s trilogy Fire, Earth and Water was also very satisfying though doing songs for these films was a kind of sacrifice for me. They were put in the background. Most of my fans hate that. They ask me not to do that. I’ve been rather unfortunate with some scores that I worked hard on and they never got released. I’ve become some what conscious of the projects I take up. If my songs get a raw deal I’d rather just do the background music.

During our last conversation you had said Chennai would always be your home. You never know. I’m trying to cut down drastically on my travelling. Though it was a learning experience I need to be at home more now. The kids are growing up. I need to be with the family more often. A year back I didn’t allow my kids to be anywhere near me. Now they’re all over the place while I compose! I think it’s very important for them to absorb the ambience.

Are your children musically inclined? They’ve just started learning classical music from Ghulam Mustafa Khan saab. Just last week he came and took over their training.

Is doing the background score as satisfying as doing songs? Unfortunately that era when a composer could create something as durable and enduring as Lara’s Theme (Dr Zhivago) is almost over. But I’m sure great themes will come back. Internationally, my career did take off after Bombay Dreams. It was an A R Rahman musical. It allowed me to go into a direction no one had gone before. Now of course I can compose for international projects from my home in Chennai.

Your slow pace used to be a problem for Bollywood filmmakers. How can my working methods be a problem for anyone? It’s like saying, ‘sitting and eating is a problem, so let’s stand and eat’. Every person has his own rhythm of work. I believe Naushad saab did just only 47 films in his lifetime. And he never regretted it. And look at what he did to film music. I have my own way of working. It’s a matter of priority. When I’m doing something that I don’t enjoy doing, when I’m not in control, then the quality of work might suffer. I’m at my best when I’m in control of my work. Change of course is inevitable. That’s why I keep renovating and innovating.

What are you doing in Hindi? Rakeysh Mehra has given you to do an entirely Indian classical score in Bhairavi? This was one of the scripts we wanted to do earlier. Now the whole concept has changed and it’s far more exciting. Most of the work that I’m doing is for musicals. And yes, a period film too, Ashutosh Gowariker’s Jodha-Akbar. It’s a romantic film, and romantic films always work. I also have Chamki Chameli which is being produced by Sanjay Gupta and directed by Shyam Benegal. It’s a full-on musical. I also have Raj Santoshi’s London Dreams. There I’ve to recreate British underground music. I’m collaborating with music producers from Birmingham to get the London underground feel to the score. Right now, I’m doing Mani Rathnam’s Guru where I’m again working with Gulzar saab.

Do you understand his lyrics? I do. I’m not that dumb any longer (laughs).

Guru is again a period film. There are different kinds of period films. There are romantic period films, and patriotic period films. Guru is partly period partly contemporary. No one wants to watch patriotic period films anywhere.

Do you think international success has eluded you? It can’t happen overnight. My agent keeps telling me I’d get a lot of work in LA if I went there. But what I’m doing here is more important. I’ve invested a huge amount in my studio in Chennai. I need to invest time in it.

How does life look to you? Life is always a struggle. I feel I’m just starting out. I can’t afford to get lazy at 40. Lots of things have changed. Lots of young people love music, and that’s a good thing. But music doesn’t sell, and that’s a bad thing.

Do you think you’ve achieved what you had set out to? I didn’t set out to achieve anything. It all happened on its own. I always go with the flow.

What do you think of Himesh Reshammiya’s music? He fills a lacuna in Hindi film music, just like Nadeem earlier on. He’s trying to mix a lot of genres. People like his music. It’s good. There’re audiences for large genres of films. And he’s doing a good job.

Himesh says he won’t sing for any outside composer except you. I’m flattered!