Oscar-winning composer Ar Rahman (“Slumdog Millionaire”) continues to drive creative boundaries with its latest score for the historic movie “Chhaava“At the same time as the tip of ambitious plans to revolutionize India’s musical theater landscapes.
The globally acclaimed musician and speaking with AmountReveals how he approached the point for director Laxman Outtekar’s historical epic after their previously successful collaboration on “Mimi.” Made by Dinesh Vijan’s Maddock movies, “Chhaava” shows up as one of the Indian hits of the year with more than $ 33 million at the checkout so far.
“I worked with Laxman and Maddock earlier at ‘Mimi’, and it was such a big hit with ‘Param Sundari’ and all the songs,” remembers Rahman. “When they came with this movie I had just finished (Mani Ratnams) ‘Ponniyin Selvan’ 1 and 2, another historical. But they said: ‘No, no, this is a completely different time. We want a very global sound for this story. “”
The composer describes “Chhaava” as in itself music -driven, although his approach was deliberately subtle. “When people come out, they just feel the movie. They don’t say how good the music is, they say: “What a fantastic movie, what a fantastic performance.” That’s what music should do. It should improve in a subliminal way where everything is raised – the action and the characters. ”
“Chhaava” is the headline of Bollywood Star Vicky Kaushal Like the legendary Maratha Warrior King Chhatrapathy Sambhaji Maharaj. Rahman says his creative process began by creating the main character’s theme. “The first thing he (outside) wanted was a theme for ‘Chhaava’, when his glory has been emphasized,” he says. “I tried a couple of themes, and he really loved the one we have. He was so excited and said “This is enough for me, I’ll shoot this.”
The point also has “Jaane Tu”, an emotional resonance ballad that serves several narrative features. “The ballad was probably one of the first songs to come. We walked around trying different ideas and then finally returned to this tune, Rahman explains. The song found a deeper purpose in the film’s climax. “It’s like his wife’s voice coming back – their spiritual relationship, almost like telepathy, how she thinks what he thinks in the moment of the most challenging life.”
The composer’s attitude to the historical genre required careful balance. “It was basically not to repeat any of the ideas I have done before, but to give the visual and history a contemporary type of feeling where today’s audience can enjoy it, while not going out of the box too much. “
The “Chhaava” sound track is on Sony Music India, with which Rahman has had a long relationship that goes back to 1997 studio album “Vande Mataram”, which remains the label’s best -selling Indian non -movie album. “I started with Sony and Sony started with me. I made a much Indian album, and then suddenly it was picked up for an international edition. I didn’t even know how huge it was, says Rahman. The success of the album and its videos ensured that Rahman was recognized on the streets of Paris and London, he says.
In addition to “Chhaava”, Rahman is groundbreaking ambitious initiative to develop India’s musical theater infrastructure. In collaboration with VGP Group, he works with a 3,000-seater theater in Chennai, with further projects under development with the Tamil Nadu government. His educational initiatives include introducing a musical theater plan with the Faculty of Broadway at his KM Music Conservatory, where they develop an amateur theater production by Andrew Lloyd Webber’s “School of Rock.” Rahman and Webber collaborated famous about “Bombay Dreams”, which was opened in London’s West End 2002 and transferred to Broadway 2004. The composer also collaborated with the prominent director Shekhar Kapur to create the Expo 2020 Dubai Commission “Why? The Musical.”
“We have to build something monumental, not just as a shell,” says Rahman. “Every theater in the world they have such pride. It’s like a monument. In Baku, Zaha designed Hadid Heydar Aliyev Center and (also) takes Sydney Opera House, ”adds Rahman. “For India, everything is Taj Mahal. It is high time that we concentrate on art centers that can become the monument of the future and show beauty. ”
He emphasizes the importance of utilizing India’s architectural and design talent who often find stores abroad. “We have such big senses, architectural senses, design memories, but they all work for people abroad, such as Apple and Intel and Microsoft. I think we just need to bring these senses here and start that magic here. That’s what I’m trying to do, with the help of great designers, AI and everything, designing monumental structures, for India’s future. Other than music this is my passion. ”
Currently, Rahman’s album is full of various projects, including Mani Ratnam’s “Thug Life”, Ram Charans “Peddi” and Anand L. Rais project “Tere Ishk Mein.” He also scores for UAE director Naila Al Khajas “Baab” and develops “Secret Mountain”, a meta -land project that attracts him with its expanding possibilities.
Rahman, who reflects on how flowing platforms have transformed music discovery, retains Rahman his characteristic optimism. “I sometimes encounter new artists. Some of the Spotify spell lists are wonderful, says Rahman, mentioning his discovery by Indian original singer Abhilasha Sinha from New York, who eventually sang a song for him for the “Mili” sound track. “It gives a voice to all this new parallel music industry, which is very good, because music should not be bound to just cinema,” he continues. “Instead of trying to be a Adele or a Taylor Swift, I think they are trying to be themselves and they show up in it. It’s the Renaissance I am looking at. I think it happens slowly. They discover a new sound, have confidence in leaning in, (rather) than trying to make a cover song by Western artists. “
The composer’s lasting creative driving force derives from his view of artists such as the mirrors of society. “Artists actually reflect the void, and they try to fill in the void,” Muse’s Rahman. “Void is sometimes art, beauty, poetry or a vibe, which will exceed people from everyday life … if I don’t have music life is everyday for me.”
He remains excited about the creative possibilities offered by new technology: “The tools are huge now, the tools are fantastic. Everyone is authorized with something. If they are still sitting around and doing nothing, it’s their fault … You have the power completely. Nothing should prevent people from creating. “
