You shouldn't dream of the impossible 
So A R Rahman believes 

A R Rahman has a flight to catch to London. But before that he has hazaar 
interviews to go
through, innumerable phone calls to 

attend to and a long line of people to meet. I watch as the tousle-haired 
composer copes
patiently with it all, wait for my chance 

and finally manage to pin him down for a quick one-on-one.

Q: So Bombay Dreams will finally come to India late this year. Is this 
something you've been
asking for?
A: Yes. We urged the producer to stage it here since the play is about India 
and they now plan
to take the show several Asian 

countries as well. So we will reach out to a far bigger audience. You want the 
world to listen
to your music but you think, they 

already have great music, they may not be interested in listening to yours. But 
I was lucky
that God howed me the way with 

Bombay Dreams. And that they accepted my music.

Q: What other international projects are coming up in 2005 for you?
A: I'm currently composing music with the Finnish folk group Varttina for JRR 
Tolkien's theatre
production of Lord of the Rings: The 

Musical. We've just completed the basic tunes that make up 40 per cent of the 
music. So,
there's loads left to do. It's been a very 

refreshing experience, totally different from anything I've done earlier. The 
production will
debut on London's West End this year. 

And I'm working on my symphony.

Q: You've done a Chinese film, Tian Di Xiong (Warriors of Heaven and Earth), 
directed by He
Peng. How difficult was it working in 

an alien language?
(smiles) You know something? I love watching Chinese films. After you've done 
quite a few films
in regional languages and Hindi 

too, you want to broaden your horizons. Please don't misunderstood me, I'm not 
saying I've
achieved all there is to here. I just look 

on this as taking a step in one more direction, exchanging ideas with new 
people. The only
difficulty was learning the language, 

but the translator who made me understand the soul of the language solved that 
problem.

As for the music, they are out neighbours and there isn't much of a difference 
between their
music and ours. Most ofthen they use 

Raag Pahari, which is known as Raag Mohanam in Carnatic music. The instruments 
they use are
different of course, and I learnt to 

play them, so that helped.

Q: Closer home, Swades had great music but the film itself didn't fare too well 
at the box
office. What do you think went wrong?
A: There are two kinds of people: those who are focused on commercial success 
(nothing wrong in
wanting to make money) and 

those who want to make a statement and enjoy commercial success too. Ashutosh 
belongs to the
second category. I admit Swades 

was a bit slow but its heart was in the right place. 

To give another example, Mani Ratnam's films always have a moral. He doesn't 
care about their
box office fate. But he's also clear 

that he doesn't want to limit himself to an audience that watches only offbeat 
films. He wants
his films to be seen by everyone. 

That's why he insists on great music, great picturisation and creates 
excitement about his
movie.

Q: Did you like the film?
A: Many people liked the film. I liked the script; that's why I scored the 
music for it.

Q: Why did you score only two songs for Kisna
A: After I had recorded four songs for Subhash Ghai's Motherland, he changed 
his mind and
decided to make an entirely different 

film. At that time I was busy with Bombay Dreams, Lord of the Rings: The 
Musical and so many
other projects. So, I told Mr. Ghai 

that I wouldn't be able to concentrate on his new film right away. But I didn't 
want to let go
of the project either. So, I offered to 

score two songs for it.

Q: People keep complaining that the quality of Hindi film music is 
deteriorating. What do you
think?
A: I don't think it's going down. The music of Devdas, the songs and their 
picturisatiion
infused vitality into the product. In Lagaan, 

too, there were little gems here and there.

If a producer wants to make a successful film today, he needs to have a very 
strong idea to
work on as well as the conviction and 

the team to pull the product through. Else he has go for soft porn. And that's 
exactly what's
happening today.

Q: Speaking of Devdas, Sanjay Leela Bhansali and you were supposed to work 
together. What
happened?
A: I respect Sanjay Leela Bhansali for the incredible work he has done. We were 
supposed to
work together on Bajirao Mastani and 

I was about to let go of Lord of the Rings for Bajirao.... when he suddenly 
announced my name
as music director for Black. I asked 

him, "What's going on? This isn't the film I was supposed to do and it has not 
songs!" He
explained that there was a slight change 

as he wasn't ready for Bajirao Mastani. I promptly sent a fax to the producers 
of Lord of the
Rings to say I was on.

Q: You are the only Indian film music director to have tasted success outside 
India. Are you
satisfied with what you've achieved 

abroad or do you hunger for more?
A: I still yearn for different kinds of work. But I think everything should 
come to you
naturally. You shouldn't dream of the 

iimpossible; if it doesn't happen that leads to frustration. If God wants the 
impossible to
happen, it will. So I don't keep thinking 

about it, I wait for opportunity to knock on my door and make full use of it. 
And I do work
very hard.

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