A Quote by A. R. Rahman
The demand in India is to have a hit, which becomes a promotion for the movie and makes people come to the theater. You have five songs and different promotions based on those. But when I do Western films, the need for originality is greater. Then I become very conscious about the writing.
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Recognition for a job well done is high on the list of motivating influences for all people; more important in many instances than compensation itself. When someone is promoted, a promotion that everyone could see coming because of an excellent record, the entire department is stimulated. For it is clear, then, that promotions are based on merit. A promotion that seems to come out of the blue, which is always the case when no one knows what the next fellow is doing, causes nothing but resentment and a further weakening of the will to work.
When I've taught writing to five, six, and seven year olds, it's not very different than talking to an adult writer. They're writers then, and when they get to be young teenagers they're not anymore. You might go and talk to them about writing, and they'll be very self-conscious or will have detached themselves from the group.
While the storytelling in games is getting so much better, you look at something like Grand Theft Auto V, which I thought was really beautifully written, it doesn't really need a movie because it is a movie. So I think you need a unique game - you either need an incredibly talented writer and director to come in and put together an amazing vision, or you need a game like Metal Gear, which is very cinematic, has a huge amount of history behind it, but whose cinematic experience is very different from what you'd get in a theater.
India went through a dramatic revolution after the '90s when our economy started opening up for the first time and Indians were now experiencing the Western life, if you will. Drugs and sex and a lot of those influences came in as the economy stabilized, and we were growing up and experiencing that. The Indian writing market was very small at that time. Our literature was very attuned to what Western audiences were interested in, so everybody was writing about the slums in India and magic realism or stories about Hindus and Muslims and partition.
I have a production company called Home Theater Films which makes faith-based films.
Before we really started writing our own songs in the James Gang, we'd play covers, and then, in the middle of them, we'd go for a jam for four or five minutes. At some point, we had six or seven of those sections, and we didn't need to cover other people's songs anymore.
I love researching, whether it's old Western documentaries or old Western country singers or John Ford Westerns, which are heavily influenced by family values, which so many of these country songs are related to. I'm having a good time doing that, and writing some treatments and hoping to bring a new style of music video to the country genre, that is starting to become very poppy.
The theater is a need for me. It's a terrible attraction, something I'm compelled to do. And one derives a form of nourishment from the theater which you can never get from films. Making films weakens you in some way. With the theater, the work itself is a regenerative process.
I like to write without being stoned. I like to have a hit or two and then go punch up the writing. I just see different things and hear different things. But it's nice to be working from the base that I wrote originally and then come to it with a little buzz. I can have a little wine from time to time. I have a hit from time to time, but those are the only things I do.
For me, the good songs are the ones that come really naturally. There are certain songs that you rework and rewrite and the craft becomes very evident, but a lot of times those aren't my favorite songs. The favorite songs are the ones that I can't even hear my own voice in.
Everybody used to be busy writing songs - great songs - that became hits. Now everybody's writing hits. Everybody's desperately writing a hit because they know they can't survive if they don't have a hit. Where in the past, we were writing a song like 'More Than Words' on a porch, not really believing it was gonna be a hit.
You need to get outside of your comfort zone to write songs that are interesting, songs that are compelling, songs that are different from what other people are writing.
I have never written a musical. I have never written a weird, interactive piece of theater. I wanted to do something that would be disturbing. It will be disturbing theater with songs. There will be no people on wires. That's probably the next one of those things on my bucket list of things that I need to write before I get hit by that car.
Writing is so... I don't know, it's such a practice, and I feel very unpracticed in it, because I'm not doing it every day. And I really need to do it every day. In other words, you spend all this time writing a movie, and then you stop, and then you're shooting the movie, and then you're cutting, and a year and a half goes by, because in the editing room, you're not writing.
This, then, is what counts: a lightning reaction which has no further need of conscious observation. In this respect at least the pupil makes himself independent of all conscious purpose.
The beauty of my job is I do all different kinds of film directing, not just surf films anymore. And I do stuff from commercials to short films to working on feature films, and none of it is based from where I live. It's all based elsewhere, so I can live anywhere and commute to where I need to go.
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