Mallika Sherawat in 'Raavana'

She sizzled and swayed in ‘Guru’. Now she will steam up the screen again with a hot item number. Mallika Sherawat had done a special song in Mani Ratnam’s ‘Guru’ and its no wonder she will do the same in his next magnum opus ‘Raavana’. She will be grooving on screen with stylish Vikram in the movie.

Mallika Sherawat’s song ‘Maiya Maiya’ in ‘Guru’ had featured the sexy actress grating to Arabic tune and her hip-shaking and belly dancing had become a popular track. Now, with this Mani Ratnam’s forthcoming bilingual project, let’s see what magic this hot gal has for us this time.

Courtesy: indiaglitz.com

One more realistic set from Mani

In less than few days since the forest officials at the Malayatoor reserve forest area issued ultimatum to Mani Ratnam and his crew to vacate the premises for unauthorized construction of thatched huts while shooting for Ravan, Mani seems to have patched up with the officials and gained access to the forest area again. However, this time the

approval has come with very many restrictions including limitations on crew members, vehicles used in the location, and a ban on smoking and usage of mineral water bottles. Mani will also need to shell out Rs. 10,000 each day for the shoots that can be conducted only between 6.00 a.m. and 6.00 p.m. Last heard, a huge set of Anandha Narayana Perumal is constructed in the spot for the shoots. We all know what magnificent sets Mani erects for his films. We can never forget the old, rusted boat and the Buddha statues in Kannathil Muthamittal – which many thought were locations shots but were actually realistic sets recreated in Tamil Nadu. Now, for this new magnum opus, Mani has constructed a huge, realistic looking set in the forests of Kerala. It will be, we are sure, quite a sight to see.

Courtesy:behindwoods.com

Who’s Rahman’s favourite?

The singer and composer on B-town’s changing sounds and the magic of MICHAEL JACKSON

AR Rahman, who has composed for around 100 films and has won numerous awards, insists that even after spending over 15 years in the industry, he has a ‘hunger’ for good work.

“I want to set new benchmarks through every film. I’m not competing with anybody but myself. Each time I push myself a bit more. I like challenging myself with every project.”

Rahman, who is in town for his new film Ada, says he loves all the songs of the album but his favourite remains the title track Ishq ada hai and Hawa hawa.

Interestingly, the composer has been singing at least one song from each of his albums ( Tere bina in Guru and Khwaja Mere Khwaja in Jodhaa Akbar more recently). Rahman explains that he happens to sing songs that are left to be sung. “I normally don’t choose my tracks. I take what is left over. It’s funny that these tracks become hits,” he says. “With a leftover track I get the freedom to sing it the manner I want to. Maybe, it stands out because I work so much on it,” he laughs.

Ask him why he isn’t venturing into the international scene. “Why should I?” he questions. “I wanted to at one point of time. Something was shaping up but it didn’t work out. Right now, I’m very happy with the domestic scenario. I’m part of a change,” he says.

He adds, “Our industry is growing bigger and better. There is more fun composing now. The filmmakers are trying to do different things. It’s great living and working here.”

Ask him whose music he likes the best and Rahman reveals, “I love Michael Jackson’s music and style. He is a great artist. I love listening to him the most,” he signs off.

Courtesy: dnaindia.com

Mani Ratnam hands over script

Many speculations have been doing its round regarding the next project of India’s numero uno director Mani Ratnam. After his last film Guru in 2007, Mani will now be doing a bilingual in Tamil and Hindi where Vikram and Abhishek Bachchan will be doing lead roles in their respective languages. Aishwarya Rai will be their co-star.


For this untitled venture, Mani’s favorite cinematographer P C Sreeram will be wielding the camera. Sreeram who had worked with the ace director in many films like Nayagan, Thiruda Thiruda will be teaming up with him after their last venture Alaipayuthey in the year 2000. P C Sreeram had given new dimension to Mani Ratnam’s screen play and his choice of camera angles to convey the mood of the scene was a trendsetter for many films. It has been reported that Mani has given the first part of the script to the cinematographer. Official announcement regarding other details about the film is expected soon.

Courtesy: behindwoods.com

Rahman named best music director at IIFA

A.R. Rahman was named the best music director for his score in "Guru" at the International Indian Film Academy (IIFA) 2008 awards here Sunday night, while the Shah Rukh Khan starrer "Om Shanti Om" swept a number of technical awards.

Shreya Ghoshal won the honours for the best playback singer (female) for "Barso re" from Mani Ratnam's "Guru", which film also bagged awards for the best background score (Rahman) and best song recording (H. Sridhar).

The best playback singer (male) award was bagged by Shaan for "Jab se tere naina" from "Saawariya".

Veteran Javed Akhtar was named the best lyricist for "Om Shanti Om", which also garnered awards for best special effects (Red Chillies Entertainment), best art direction (Sabu Cyril), best costume design (Manish Malhotra, Karan Johar and Sanjeev Mulchandani) and best makeup.

The award for best screenplay was won jointly by Anurag Basu ("Life in a Metro") and Jaideep Sahni ("Chak De! India").

"Chak De! India" also took home the trophy for best cinematography.

Imtiyaz Ali was named the best dialogue writer for "Jab We Met".

Courtesy: indiainfo.com

I don't think remix is a bad word: AR Rahman

There's little one can say about him that has not been said before. He is a musical genius whose popularity spans across continents. He has revolutionised Indian film music and now he is nurturing young talent at his own music conservatory. The man who delivers music from the heart and he is AR Rahman.

Rajeev Masand: Let me start today by throwing an accusation at you. You seem to be reserving the best songs in your album for yourself, whether it is Khwaja mere Khwaja from Jodha Akbar, Tere Bina from Guru, whether it is a song from Sivaji. Is it pure selfishness or is it the fact that you think that you can bring something to the songs that perhaps others can’t?

AR Rahman: I don’t make decisions for myself. I leave it to the directors. In Tere Bina, I had Khader Mustafa who I liked very much. But Mani Ratnam felt that I should sing it. Khwaja mere Khwaja was a song done as a template to listen to and when I played it Ashutosh wanted it. He added it. It was not there in the film earlier.

In Jaane Tu, it was just the opposite. He did not want my voice. He felt it was too soft. I said I like this song and I will do another song for you. He then asked me to re sing it. Initially it was soft jazz and he did not like it. He wanted it more aggressive and more fun kind of singing.

Rajeev Masand: Originally I know, you were committed to do music for Om Shanti Om but you did not do it because you were refused the publishing rights, which is the ownership rights. I know it is common practice in the West and makes perfect sense that the person who creates the music should own the music.

AR Rahman: It is both ways. Some people buyout the music and it is transparent. The buy out is shared. But in this case, strangely we never intended to do that. At that particular time, when my company was launched, I realised the importance of having a publishing of ones own. I have reached 41 now and somewhere I felt that I have to do something for my kids and the generation and in a way to exploit our music in the west, something like an ambassador in the other country. Like recently there is a movie, The Accidental Husband, which has three of my Tamil songs. To give more scope and accessibility to my stuff, it is important. It is a little shocking in the beginning but people are getting used to it.

Rajeev Masand: Did you hear the music of OSO?

AR Rahman: Yes. I liked it. I would not have been able to do it the way it was done.

Rajeev Masand: Was it very different from what you had imagined doing it when you were committed to do it?

AR Rahman: I had a couple of meetings with Farah and we were discussing the Bombay theme and it is unfortunate that we could not work on this. But we are great friends and we will be working in future.

Rajeev Masand: I also know that you were committed to doing Kamal's film Dasavatharam, which you couldn't because time constraints did not allow you.

AR Rahman: Yes at that particular time, I was doing many things. I was travelling and Kamal ji wanted me to give the music immediately and it was a huge film. I knew the kind of work it would require. I knew I could not do justice in that short period.

Rajeev Masand: You were replaced then by Himesh Reshammiya. Were you insulted?

AR Rahman: No, not at all. Himesh did the songs but I think Devi Sri Prasad did the background music.

Rajeev Masand: Have you heard the music?

AR Rahman: No, I have not heard the music.

Rajeev Masand: He has also sung in Tamil.

AR Rahman: I would love to listen to it.

Rajeev Masand: What do you think of him as a singer? You have used so many Bombay voices. You have introduced so many people in the music industry. How come you haven’t found anything for Himesh?

AR Rahman: I think he has got a particular style. I have heard him very closely and I think he is capable of much more. In fact we were co-judges in a show for a channel. So, I am waiting for the right song for Himesh. I like him as a person and I wish him all the best.

Rajeev Masand: You know that he is a movie actor now as well.

AR Rahman: Yes I know. Awesome.

Rajeev Masand: I know you have started a music Conservatory in Chennai. Is this your way of giving back to the industry?

AR Rahman: I just get panicky thinking what if there are no violin players and no trumpet players and I would have to go to Prague or London again or other places. Not only me, Ilayarajah goes to Budapest and Salim goes to Prague. We are all passionate about music and if we don’t have the right kind of players then we will have to compromise and even spend more. I was waiting for someone to bell the cat. I waited for almost 10 years. It did not happen. So just a week before my birthday, I decided to do it. Everything has gone well and we will start in June.

Rajeev Masand: Do you find that we are too lenient as a society? Why are we so indifferent about plagiarism? Look at Pritam’s track record lately. Look at Race, Jab We Met, Metro. Almost all his track records can be traced to either a Korean hit or another Hindi film song or a foreign song. Why are we so lenient as a society as far as plagiarism is concerned?

AR Rahman: It is not just one person. There are a number of people. It’s also how the industry has forced people to do that.

Rajeev Masand: Do you actually believe that?

AR Rahman: I think now people are in a position to say no that I can’t do that. They will be respected even more when they do that. I think that it is what each composer needs to do when he is forced and told that some song is needed. So, one should maintain one’s integrity. If someone wants a particular song without courtesy, then the composer should refuse and say he doesn’t want to steal the song. Else most of them will land up paying a lot of money from their pockets as an out of court settlement.

Rajeev Masand: Your fans were very surprised when you took a shot with remix. You did it few years ago with New, then you did it with Azhagiya Tamil Magan and then now you have done it again with Jaane Tu…Ya Jaane Na.

AR Rahman: I don’t think remix is a bad word. There is both good and bad in that. You can’t say all Western music is bad and noisy. I don’t agree with that. You also can’t say that all Indian music is classic. I am a composer and if there is a song which I love, for example Tu hi re and someone remixes it, I would not like it, but if there is a peppy song and I want to hear something interesting, then it’s okay. That’s what I did. I took two tracks from Adaan and I released it. Some guy there in a village will be remixing it in his computer and singing in his voice and producing something interesting, an idea that may not have occurred to us.

Rajeev Masand: You said no to Spike initially when he said he wanted to use Chaiyya Chaiyya and wanted to add rap to it when he wanted to use it for his film, The Inside Man.

AR Rahman: No. We were trying to be careful. Rap means swearing and I did not want Chaiyya Chaiyya to have any swear words in it. So, when they assured me that they would not have any swear words in it, and then we said yes.

Rajeev Masand: I remember you saying a little while ago that you were tired of doing these big historic films and you were looking at letting your hair down a little. Is the film Jaane Tu…Ya Jaane Na, a respite then, an opportunity?

AR Rahman: I started working on the movie at about the time when I said that. Working with Abbas was really great. Though it was a little crazy but I like the craziness. It’s good to break away from routine at times and not be rigid.

Rajeev Masand: How would you describe the sound of the film?

AR Rahman: I think it is a mix. With different lyricists, different flavours come out. With him, there is a genre of words and phrases he has picked and the song is around that. For example, Kabhi Kabhi Aditi, it is a song that I haven’t ever done before. It is simple arrangement yet romantic. It’s like rediscovering yourself.

Rajeev Masand: If I ask you to choose the one song that you are most remembered for, would you still pick Chaiyya Chaiyya?

AR Rahman: You can’t be generic about it. People get angry. Down south people like the film called Duet and it is a soundtrack. Some love Roja, some like Taal, some Lagaan.

Rajeev Masand: Which ones are the breakthrough ones for you?

AR Rahman: For me, personally, I would say Roja, album Vande Mataram, Taal, Dil Se, Bombay Dreams, and probably Rang de Basanti now. In South, last year’s Sivaji is also one. So these are all different songs. When you get bored, you move on to the next phase. These are all different phases.

Rajeev Masand: There was time that you were extremely reclusive, media shy and hardly any media appearances. That seems to have changed now.

AR Rahman: That is sarcastic?

Rajeev Masand: No not sarcastic at all. Did you consciously choose to be more accessible, whether it is brand endorsements, interviews or be it television appearances.

AR Rahman: Yes. Some proposals suited me as a musician. I would not be selling oil or underwears. And also I needed that to fund my school and other interesting projects that I was doing. It was also a way to communicate with people, and people started liking it.

Rajeev Masand: You are collaborating once again with Rakesh Mehra for the music of Dilli 6. That is after the great soundtrack that you gave him for Rang de Basanti. What was the brief for Dilli 6 and how are you going to top the music of Rang de Basanti? I know you will say that they are two different films, but it’s impossible to avoid the comparisons?

AR Rahman: Certain things…you have to let them be. Maybe there is some soundtrack that moves away from Rang de Basanti and is even better for the ears. I am not worried about it at all.

Rajeev Masand: What is the brief for that?

AR Rahman: It is all a secret.

Rajeev Masand: You are also working again with Subhash Ghai after Taal and Kisna. Taal, in the sense was one of the most popular and successful commercial albums that you did. What can you expect from Yuvraj? Subhash Ghai says it’s a complete musical this time.

AR Rahman: Yes he loves music. We are talking about a very passionate man and he wants to pick up the best music and picture it in a great and different way. You have to give it to the man. He has been there for three decades and still wants to excel. It is a great attitude and I am learning from him.

Rajeev Masand: You will still not give us a brief for this one?

AR Rahman: No...

Rajeev Masand: You have worked with one of the best filmmakers, Mani Ratnam, Shekhar, Ashutosh Gowarikar, Rakesh Mehra and many more. Are there other filmmakers that you are looking forward to work with, just because you think you will be able to bring something interesting to their film or just because you like their kind of films?

AR Rahman: Yes. There was a time when I wanted to work with Bazelon and Andrews.

Rajeev Masand: And you almost did work with them?

AR Rahman: We had a couple of meetings but then I had to leave all my assignments and go and settle in Sydney or London, which at this point in my career or age, I can’t do.

Rajeev Masand: I read something interesting that you were all set to work with Bazelon and then they went to IMDB and they looked up all the movies you did and they were thirty. And they got worried.

AR Rahman: It is threatening because they would be worried that if I am already doing so many films, how would I concentrate on theirs. What happens is that when someone announces a movie and their music and my name, even without my consent, my name is there on IMDB. It is dangerous. Anyway, now the most liberating thing for me is my own label. And if I want to do something good, I can produce it myself now.

Rajeev Masand: Is there one music instrument that you are determined to learn how to play?

AR Rahman: Yes, there is a new instrument called the Continuum, which could be a breakthrough in Indian classical music, which I hardly find time to practice and when I do practice, I think it is good. I may soon have classes for that in my Conservatory.

Rajeev Masand: Is there any one song by another composer that you have been humming lately?

AR Rahman: Lately....there is a song of Mohit Chauhan in Jab We Met.

Rajeev Masand: Tumse hi?

AR Rahman: It’s very Himachal actually?

Rajeev Masand: Best of luck. Thanks for talking to us.

Courtesy: ibnlive.com

Ash-Abhishek in Sapnay director's next

Abhishek Bachchan and Aishwarya Rai seem to have become an inseparable onscreen couple after marriage. After Guru and the upcoming Sarkar Raj, they will be seen together in Rajiv Menon's new film, Dhun. It will be produced by Eros Entertainment.

Dhun is a musical love story, and will feature eight songs.

"I want to bring out the essence of music and the unsaid emotions in this film. This film is especially for music lovers," said Menon, who has earlier directed films like the Kajol-Prabhu Deva starrer Sapnay and Mammootty-Ash-Tabu starrer Kandokondain Kandokondain.


Menon hopes that A R Rahman will score the music for his film.

But Menon refuses to talk about the film in detail. "I do not want to comment much about it because I am already facing trouble after revealing the title to a publication," he said.

When asked why he chose Ash and Abhishek, Menon replied, "After Guru, I narrated the script to Abhishek and he seemed interested. Ash also showed interest in the script, so I signed them up for Dhun. Whether stars are real life couples or not does not matter if they have the ability to fit into the character and pull it off well."

Menon worked with Ash and Abhishek in Guru, and claims that it is a pleasure being associated with them. "Both Ash and Abhishek are wonderful actors, and very committed," he said.

Before he turned to direction, Menon has worked in many of Mani Ratnam's movies, as a cinematographer. "Mani is a wonderful director. We have never had any creative differences. We always discuss scenes and situations before reaching the sets. We do not discuss anything on the sets but I still know how Mani wants the scene," he said.

But while he's all excited about his musical film, its the mythological and historical films that he hopes to direct some day.

Courtesy: rediff.com

I have started my own label: A.R. Rahman

From Roja, Bombay, Dil Se, Lagaan and Taal to Rang De Basanti, Guru and the recent release Jodha Akbar- A.R. Rahman has redefined Bollywood film music with his unique panache. TWF correspondent Sreya Basu catches up with the man with the musical Midas touch during his breezy trip to Kolkata.

What brings you to Kolkata this time?
I am here to shoot the season finale of Airtel Bandwagon, a television reality show to provide a platform to new music bands. We shot at the Technicians Studio in Tollygunge.

Why is that Kolkatans don't see much of Rahman in the city?
It's true that I don't frequent Kolkata unlike Chennai, or in that case, Mumbai, but this city will always have a special place in my heart and career. After all, it was in Kolkata that I staged my first concert in the country way back in February, 2003.

We heard that you are going to open a music conservatory?
Yes. It will be opened in Chennai in June this year. It is my dream project and is going to be the first music conservatory of India for training our musicians in western classical music. The first branch of the conservatory will be opened in Kolkata.

When is that going to happen?
See, this kind of project requires a lot of planning and time. It took us years to come up with the one at Chennai. I guess we will have to wait for another couple of years for the next one.

What about a concert in Kolkata?
I am planning to stage a larger-than-life concert here by the end of this year. Right now I am working on my new album. It is almost 10 years since I have come up with anything new- after the release of my last album Vande Mataram.

What is your take on the music scene in Kolkata?
Well, the city breathes refreshing music. Why only Kolkata, the traditional and folk music of Bengal is a pool of inspiration. I even included baul music in the Hindi film Mangal Pandey. I would love to explore the new talents and music of Bengal. Pandit Ajay Chakraborty and Ustad Rashid Khan are among my favourites.

Your music for the play The Lord Of the Rings staged at Theatre Royal Drury Lane in London has turned into a phenomenal success. Do you plan a similar play in India as well?
If I plan a musical play in India that has to be superior than Bombay Dreams and The Lord of the Rings. Outside India people literally travel across cities and even countries to watch a play.

People from France and Germany booked their tickets in advance for The Lord of the Rings. India is strongly possessive about her tradition and genre of theatre and music.

If only we manage to break off this shell that we too will be in a position to experiment a little with Indian theatre, especially when today there is no dearth of sponsors here.

You started with Tamil films, then Hindi, and now composing music for Broadway and West End as well. What's next in line?
I have started my own label. That means I have the freedom to experiment and do whatever I want to do with and for music. I would like to exploit this opportunity thoroughly.

Courtesy: santabanta.com

Rahman – The January Secret.

The month of January seems to turn the Musical Wizard on; there is a special connection between Rahman and January. Whenever he has had an album or a movie release in January it has for sure gone on to rock the charts for months, maybe an entire year altogether. Not impressed, well then the last three Januaries (2006, 2007 & 2008) have been nothing but Rahman, not in Kollywood but definitely so in Bollywood.

2006 - On the 26th of January, the movie Rang De Basanti released. Now if you have not heard Rang De Basanti (which is quite close to impossible) then you possibly do not know that Rahman is very close to the best in India when it comes to delivering high energy Punjabi numbers. The Rang De Basanti song which had Daler Mehendi in full throttle with the desi drums for company pumped adrenalin into the farthest corners of our body. Then there was the ‘Paathshala’ which might be called the ‘School of Rock/Rap’ for Indian film music, something never heard or tired before. Then Khalbali with the distinct Arabic feel that made you want to dance. And of course, there were the signature Rahman melodies, Roobaroo (the song that unearthed Naresh Iyer) and Tu Bin Bataayein that left a lump in your throat- January 2006.

2007 - We need not tell you what was unleashed in January 2007. For the ones not so fortunate with their memory- Guru. Another Mani Ratnam-Rahman combo that gave us everything that we needed for our hearing pleasures. Maiya Maiya, again an Arabic touch but very cleverly tweaked to suit our tastes. But then this was just the average part of an album that had two lilting melodies- Tere Bina and Aye Hairathe, the latter especially making us linger on in the sweet symphony of Hariharan’s voice as it blended with the subtly used tables. Not to forget the thundering background music that gave us the thrill.

2008- The music is just catching on in some parts of India but Rahman has definitely scored a hat-trick of hits in successive Januaries. Jodha-Akbar has sealed the love story of Rahman and January (Jodha Akbar Music was released in January). It may not be the ‘first time love’ kind of songs but Rahman has given one of the finest albums in recent times. Jashn-e-Bahara is definitely the most ‘melting melody’ that has come out since Aie Hairathe- the perfect use of Sonu Nigam’s sweet voice. ‘In Lamhon Ke Daaman’ too makes us lose ourselves in layers of finely crafted sound. But the cake is really taken by the instrumental versions where the flute replaces the vocals-mesmerizing. And for the thrill, hear Azeem-o-shaan shahenshah with its resounding drums.

So, what’s for January 2009- we cannot wait.

Courtesy: behindwoods.com

Rehman bags three Filmfare Awards

It was A.R. Rehman all the way at the 53rd Annual Filmfare Award. The music maestro, nominated in three categories - Best Music, Best Background Score and Best Singer, walked away with two statues of the black lady (Best Music, Best Background Score) losing out the third one by a whisker.

It should be noted that the world renowned composer had just one release in 2007, director Mani Ratnam's Guru which released at the very beginning of 2007. However, the film's songs are still a rage with the masses, a proof of Rahman's musical prowess.


As he received the award for Best Background Score, Rehman (who was presented the award by Bollywood's famed director duo Abbas-Mustan) said, "The Filmfare Award is like an ornament for a lady; the more you have, it enhances the charm."
Later on, he was back on stage once again, this time receiving the Best Music award for Guru from Bappi Lahiri and Poonam Dhillon. The award, his 21st, makes the Mozart of Madras the recipient with the most number of Filmfare awards. We, at Oneindia.in, wish the 'Isai Puyal' on his glorious triumph.

Courtesy: oneindia.in

Mani's next - story revealed!

Mani Ratnam’s newest film project returns to a territory he is master of: a simple, deep love story beautifully and impeccably told in the way only this maestro can. Think Alaipaiyuthey, except the couple is now negotiating married life amidst the frantic pace of modern life. Will the story also perhaps deal with how contemporary couples balance careers with marriage and family? There is something doubly interesting about this project – the stars that will play this couple are Abishek and Ash. The glittering echo between the fictional and the real couple is obvious, adding to the buzz.

It’s nice to have Mani Ratnam come back from larger than life stories like Guru to doing something more intimate, feel-good, lyrical and romantic. And where there’s Mani there’s always that other maestro, A.R.Rahman. Taking a cue from the story and theme of this yet untitled movie, the model for Rahman’s songs could well be Alaipaiyuthey. Richly lyrical romantic ballads, intoxicatingly choreographed and shot. Which brings us to the cinematographer – rumour has it that Mani is most likely going to bring his veteran cameraman in - P.C. Sriram. If you recall, P.C. and Mani together revolutionized the use of lighting and camera work in Tamil cinema once. Rumour also has it that the Big B will make a cameo. But let’s wait and see what develops – with this publicity shy director
nothing is confirmed until he confirms it.

Courtesy: Behindwoods.com

'Each song in Jodhaa Akbar has its own potential'

The last song to appear in Jodhaa Akbar, Inn Lamhon Ke Daaman Mein, is one of the most haunting songs composed by A R Rahman.

But like many of his fabled compositions, this one will also take time to make a lasting impact. The song is used mostly in the background, as Jodhaa and Akbar make love for the first time.

The number is sung by Sonu Nigam, and Madhushree who, in recent years, has emerged as one of Rahman's favourites.

The composer says the song challenged him considerably.

"It comes in the climax of the film," he says. "It was very important to have the song right. If it is too slow, it will bring the whole energy down. If it is too fast, it won't do justice to the situation. The end of the film shows Jodhaa finally loving Akbar for the first time since their wedding."

He had to play 'a kind of dynamic composition where it starts on a soothing note, and then goes to the big chorus,' he says.

"It has a full journey in it," he adds. "I think it is very good."

Many cannot understand how a big historical film like Jodhaa Akbar has only five songs. Old classics like Mughal-E-Azam and Pakeezah have quite a few songs in them.

"Numbers don't count," Rahman answers bluntly. "Roja, Dil Se, Bombay and Guru each had five songs. The real songs in that film were five; others were used in the background.

"Each song in Jodhaa Akbar has its own potential," he continues. "So we kept them simple. We did not want to overload things."

The music of Jodhaa Akbar is not confined to songs alone, he asserts.

"Once the film is released, they (UTV, the film's producer) may release the soundtrack, with the theme of the film and other compositions," he says.

"I take composing the background music for a film to be a very serious business," he continues. "There are a lot of people, who do just five songs and leave it for someone else to compose the background. You need 20 times the energy (of composing songs) to produce the background score. You need three to four months."

The time he took to compose the background score for Jodhaa Akbar, he adds, he could have used to compose songs for five to six films.

"It (the background score) is a commitment to the movie," he continues. "It is all about artistic honesty. It also helps you grow musically. In this film, I loved doing the background music because of the depth of the subject and interesting situations."


But on many occasions, when a filmmaker tells him the film's story, he knows in his heart, that he should not take up the film.

"When I am doing a song," he says, "the director has to live with the song and when I am doing a film's background music, I have to watch the film and have to live with the film all my life."

That is why he rejects many films, he adds.

Working for the third time with Gowariker reinforced Rahman's admiration for the filmmaker.

"Very few people recognise the kind of warmth in music, the pulse, the soul of the music," Rahman says. "He is one of them. Mani Ratnam and Subhash Ghai also are like him. Ashutosh has the talent for spotting fine music. There are so many ideas that he has to consider while working on a film. But to pick the right things and give them to the people, to present them in a very dignified way, is very important to him.

"There is no use in us in composing beautiful stuff and then getting it thrown away, without any respect to the music," Rahman continues. "It is very important for a director to sit and like something, and challenge the composer from time to time. Ashutosh does it."


Courtesy: Rediff.com

Ash, Abhishek in a Disney film?

After increasing its stake in the UTV-promoted television channel, Hungama, Walt Disney is all set to make an entry into the Hindi film industry. And their first project seems to be already underway.

Sources inform Gullu that Aishwarya Rai Bachchan had a long meeting with Disney officials two weeks ago, and they have decided to make a film with her. It will be directed by Mani Ratnam, and may also star Abhishek Bachchan

Ever since Mani Ratnam's brother, G Srinivasan, died in an accident, his production house, Madras Talkies, has been lying low. Guru (with Aishwarya and Abhishek) was the last film to be produced by Madras Talkies.

Mani Ratnam has never ventured out of his family's production house after it was formed. But now, it seems, he is keen to work with Disney and UTV.

The untitled film for which the script is being worked out will begin at the end of this year, and will release next year.

Courtesy: Rediff.com

Tamil theaters supporting the Rajasthani Rajputs against Jodha Akbar?

Unlike what was being reported earlier, Jodha Akbar will not be able to make it in dubbed versions in Tamil Nadu this week. 'Officially' the Tamil distributors are believed to have told the makers the demand is not strong enough for it to follow the likes of Krrish, Dhoom 2 and Guru to have a regional sub-release also in the south. However it could be they are heeding the calls of the Hindu Rajput groups who have asked people of every state to shun the film because of what is being called an attempt to distort Indian & Hindu history via a movie.

The other aspect could be purely financial. UTV is said to have asked for over 2 crores for the territory which is believed to be too much given its theme and setting at the moment.

Even the Hindi version in Chennai is not having a huge release with only 2 theaters currently planning to exhibit the mughal-rajput saga on Friday.

Courtesy: Ibosnetwork.com

'Jodhaa Akbar is the story of married love'

It's not every day that you get to work in a film like Jodhaa Akbar, says Aishwarya Rai.

A well-written part, which is very feminine and delicate, and a director (Ashutosh Gowarikar) with focus and clarity do not often come together, she tells Arthur J Pais, in an exclusive interview.

Ash plays a Rajput princess in the film, who becomes a reluctant bride to the Mughal king Akbar when she discovers that the marriage is a political move.



Read on as the 34-year old discusses her joy in working with co-star Hrithik Roshan, her admiration for Gowarikar and music composer A R Rahman, and what she expects from Robot, a sci-film she has just signed with Tamil superstar Rajnikanth.

What attracted you to Jodhaa Akbar?

When I heard that I could be playing Jodha, I was immediately intrigued. And anything that Ashutosh Gowarikar offers has to be substantial. The subject also intrigued me.

As I was going through the script, it became clear that the film is about a love story that has not been told before. In other films dealing with the Mughals, the relationship between Akbar and Jodha was taken for granted.

How is the love story of Jodha and Akbar different from the standard love stories?

This is the story of married love. It is pure and innocent. It is the discovery of true love only after marriage. Their love for each other grows despite some initial complications and political adversities. And the way Ashutosh Gowarikar has narrated it is both engaging and thrilling.

Were you worried about the film being a historical? Some people in the film industry may worry that a historical film may not be able to draw a large number of viewers?

I knew from the start that Jodhaa Akbar was not going to offer history lessons. I had watched Ashutosh's films, and wondered if we would work together some day. I trust him completely. I knew he was making a historical but history is just a background for an intriguing love story between two powerful people. I also thought the film has a contemporary edge to it.

What is contemporary about it?

The film is about the courageous decision a Rajput princess makes in marrying the enemy of her people. It needed incredible strength and courage for Jodha to make the decision in the interest of her people. Later, she worked very hard to make sure the relationship succeeded.

In India, despite the concept of love marriages we have in urban centres, arranged marriages take place everyday. I would think 90 percent of all marriages in India are arranged in one way or the other. My parents and my brother also had arranged marriages. Many of these people have to work hard and use their emotional resources to make their marriages work.

You look at Jodha and Akbar in the film and start thinking: they came together not under the happiest circumstances and yet, their marriage worked.

The film offers insights into relationships that are relevant today. Jodha and Akbar took great risks in their relationship. This film shows what might have gone in their minds and how they might have negotiated their life's journey.

This is your second film with Hrithik Roshan after the superhit, Dhoom: 2.

We have a similar approach towards acting and we enjoy diverse kind of films. We became good friends while working on Dhoom: 2.

We're fortunate to be working together in two films that are at the two ends of the spectrum. While Dhoom: 2 was an outrageous entertainment, Jodhaa Akbar explores an intense relationship between two dynamic people.

Gowarikar says seeing your work in the film makes him feel you are Jodha personified.

When a director says something like that, it goes to show his sensitivity and appreciation.

I have worked with some of the most seasoned filmmakers (including Sanjay Leela Bhansali in Hum Dil De Chuke Sanam and Devdas, Subash Ghai in Taal). But working with Gowarikar was quite an experience.

The script is detailed and focused. He has immense clarity and knows precisely where the film is going. He is very generous with the artists. He gets the best out of you.

More than anything else, I have come to respect him as a human being. I have watched him deal with everyone, from junior artists to stars with respect and consideration. The film required a lot of stamina and there were long spells of shooting. But because of Gowarikar's nature and Hrithik's presence, one never felt the stress.

This is one of the more complex roles you have taken up in your career. Did you wonder if you could do full justice to it?

I never approach a film with fear, rather I do it with excitement. That has been my work philosophy right from the start.

I was always there for a director, no matter how big or small the film. In the case of Jodhaa Akbar, I felt excited the moment Gowarikar mentioned the project. I knew immediately I was doing something extraordinary.

What is it like working in a film that had music by A R Rahman?

Like many of his films, the music in Jodhaa Akbar will take some time getting used to. But once it gets into your heart and soul, you won't be able to get it out. The way Gowarikar has used Rahman's music in Jodhaa Akbar will make you want to listen to it as soon as the film is over.

I have worked in many films where Rahman has done the music, starting from my very first film, Iruvar, which Mani Sir (Ratnam) directed over a decade ago.

Then, there was the song Barso Re in Guru which was picturised on me. Originally, Rahman had composed a nice tune which was supposed to be picturised on me riding a bicycle. But I fell off the bike and hurt myself. So a new situation for the song had to be created and Rahman came up with Barso Re.

Any new projects?

I'm doing Robot in Tamil with Rajni Sir (Rajnikanth), which I guess will be dubbed in many languages including Hindi and Telugu. Rahman will be composing the music for Robot.

I would also be working with director Shankar Sir again, after Jeans.

Courtesy: Rediff.com

Bountiful year for Rahmaniacs!

The year 2007 saw no audio offering from the 'Beethovan of the East', A R Rahman. Are we missing out his superb compositions from Mani Ratnam's GURU? No certainly not! The audio album of GURU was unveiled in 2006 itself, though the movie released in January 2007. No wonder then that the fans of the maestro were heard complaining.

The reason for Rahman's absence was more technical as he wanted to break the hegemony of some audio giants. However, the current year is likely to more than compensate for his absence last year. While his magnificent JODHAA AKBAR audio is out and is delighting the music lovers all over the world, four more probable gems are lined up. Yes, Rahman's YUVRAAJ (for Ghai), GHAJINI remake and JAANE TU YA JAANE NA (both for close friend Aamir Khan) and also DILLI 6 for Rakeysh Mehra, are all likely to hit the stores in 2008.

Well, Glamsham definitely deserves a treat from Rahman fans for breaking the good news. Happy listening!

Courtesy: Glamsham.com

Star Screen Award for Best Music

Winner
A.R. Rahman
Guru
“Due to some urgent commitment, I could not make it for the function. I must thank Screen and also the Almighty Mani Ratnam. Gulzarsaab wrote some wonderful lyrics. As usual, we had recorded more songs, finally narrowing them down to what I guess turned out to be the best. The first song I recorded was Mayya mayya - I was coming back from my Haj when I heard some people say that word, as Mayya stands for water, and told Gulzarsaab that it was a nice phrase and he liked it too.”-A.R. Rahman

Courtesy:ScreenIndia.com

Taare, Rahman shine @ Star Screen

The awards season of the year kicked off with the Nokia Fourteenth Annual Star Screen Awards at Mumbai last evening. The evening was all glitz and glam with every famous personality in Bollywood attending the gala event. Contrary to previous years, there was tough competition in all the categories.

But the strongest of the contenders for almost all the awards were just two films – Aamir Khan’s Taare Zameen Par and Yash Raj’s Shah Rukh Khan-starrer Chak De. The awards finally ended up as a give-and-take affair with Chak De walking away with the Best Film; Shah Rukh being adjudged the Best Actor, and the ensemble of girls bagging the Best Supporting actress awards. TZP, on the other hand, bagged the best supporting actor award for Aamir Khan. Awards for Best Story, Best Child Actor and Best Lyricist went to Amol Gupte, Darsheel and Prasoon Joshi, respectively. Shimit Amin shared the Best Director Award for Chak De with Aamir for TZP. The Bachchans had to eat the humble pie with most of the awards remaining elusive to them. Even Abhishek’s Guru only ended up bagging the Best Music Director Award for A.R Rahman. Kareena Kapoor was the only unanimous choice for the Best Actress Award for her scintillating performance in Jab We Met. The Lifetime Achievement award went to veteran actor Manoj Kumar. The evening had its share of song and dance performances by leading stars with Shah Rukh grooving to the Dard-e Disco number from his Om Shanti Om. Sadly, this much talked about film could only garner the Best Choreographer Award for its director Farah Khan and Best Newcomer (Female) for Deepika Padukone.

Courtesy: Behindwoods.com

All actors in 'Jodha Akbar' have done well: Aishwarya Rai

Former Miss World and Bollywoodactor, Aishwarya Rai Bachchan on Thursday said all the actors in the movie 'Jodha Akbar' have done the film with 'full passion' and hoped that the movie would be a hit with the masses.


The actor, who was here to launch the Nakshatra New Winter Wedding Collection of diamond jewellery here, told reporters after the launch that movies like Jodha Akbar, were very "tricky" with regard to audiences accepting it.

Aishwarya Rai and Hrithik Roshan are playing the leadroles in the movie.

Responding to a query that films like 'Asoka' have not gone onto become hits in recent times, she said "At certain times certain films do well...certain films do not do that well. It's a very tricky thing."

The daughter-in-law of Amitabh Bachchan, said working for the Hollywood movie 'Pink Panther' was a 'fantastic experience'. "There were so many stars...it was really anamazing experience," the actress said.

Aishwarya, who is married to Abhishek Bachchan, said "I am enjoying my current phase in life. Being married...it's an incredible thing in life."

Asked about one memorable moment during the shooting of the song 'Tere Bina' in Maniratnam's 'Guru' here, she said the whole song was shot at night. "We shot the song all night. Mani wanted to shoot songs at day break and he wanted the song to be taken in one-take," she said.

She also said she would love to do more Tamil films. "There's a lot of talent here that I would love to work with. But the possibility of accepting projects is time defined."

Courtesy: Hindu.com

A.R. Rahman for Himmesh and Adnan

Only a few days back it was reported that Kailash asked the ‘Mozart of Madras,’ A.R. Rahman to croon for him. Although nothing was confirmed from Rahman on this, sources say that two other composers are also in the fray trying to rope him in to sing for them. It is not uncommon for composers to sing for others.
A R Rahman
In fact, in Kollywood, veteran composers like M.S. Viswanathan and Shankar (Shankar-Ganesh) have sung for other composers.

Of late, such trends haven’t been witnessed in the film industry. The reasons attributed, by the insiders, include ego clashes that might arise and erosion of fan base.

But composers themselves have never opined on those lines. News is that ‘Isai Gnani’ Ilayaraja had recently offered to sing for other composers. Rahman is now becoming hot property as a singer in Bollywood after his hit numbers in Guru, Swades and Dil Se. Himmesh Reshammiya, a self-confessed fan of Rahman, had announced that if ever wanted to sing for another composer it would be only be for Rahman. This composer/singer, known for his nasal twang, has asked Rahman to sing for him and close on his heels is Adnan Sami who has also made a similar request. Rahman when questioned on this said, “It’s extremely kind of them to think of me, but I can’t just sing like that. When I render a track, I cut myself off from other things. Even for a concert, a couple of days before it I don’t pursue my other music stuff, but just concentrate on the singing.” He also added that he hadn’t turned down their request but as he is working on an album, he can consider these offers only after completing it. Is he trying to be politically correct or is he just politely turning down these offers?

Courtesy: Behindwoods.com