Q. How do you think that your use of music is going to hopefully revolutionize the way music is used in Hollywood films from now on? A. It depends on the vision of the director and what film it is. It worked well in this film because of Danny's vision of music in Slumdog Millionaire. And so it is teamwork, and I hope if people like this kind of style, maybe and I'll go forward with this.
A. R. Rahman on revolutionizing music in Hollywood and Indian music scene after winning Oscars for Slumdog Millionaire
A. R. Rahman
How do you think that your use of music is going to hopefully revolutionize the way music is used in Hollywood films from now on?
It depends on the vision of the director and what film it is. It worked well in this film because of Dannys vision of music in Slumdog Millionaire. And so it is teamwork, and I hope if people like this kind of style, maybe and Ill go forward with this.
What to you are the best qualities about Indian music and particularly about the music that you might find in Mumbai? What are the best qualities?
Mumbai is actually rediscovering itself, its tradition, and theres contemporary music happening. But its got a wealth of extraordinary musical culture; different states have different types. And theres a 0.1% percent of this work is available. I think theres a huge pressure there.
One of the other nomination you had for Best Song you had a co-writer MIA. I wondered if you could talk about her?
And I think there were much more important things in her life, like having a baby and that was good, actually. She took care of the baby. I wished her well.
Were you at all worried about being up against industry veterans like James Newton Howard, Danny Elfman, had you known about their music, studied their music, known much about it, did you think at all youd ever be able to kind of crack into this industry at all?
I think music appeals when the film and music go together. And, of course, they have lovely scores in their movies. And I had very low expectations when I came to Oscars. But Im really happy that it worked for me and grateful for it.
Resul Pookutty talks about making history at Oscar and making sound for movies with his Slumdog win
Resul, you said this was history being made tonight, and Im wondering if you can talk a little bit more about that and what this means to you?
Thank you very much. Academy history, no technician from India has been nominated. I am the first Indian technician to be nominated for an Oscar and winning one for Slumdog Millionaire. So, thats one for our history and sort of glory for me, personally, and for my country.
Resul, you mentioned the sacred word "Om" in your speech. Tell us why you wanted to share that.
Because in our tradition, we believe that Om is a word that encompasses the whole experience of the universe. Indians can just listen, can just close your eyes and listen to the pains of living just by the sound of Om. That relates to me on a very personal level, being a sound person. Thats why I live for that.
The sights and sound of Bombay in India have been discussed tonight, being so layered, so complicated for all of you. Was that an enormous challenge to create the fantasy and still the rhythm of Bombay?
Like I said, I just have to explain the way the film industry has been working, doing sound for Indian films. 12 years ago, 13 years ago, there was virtually no sound recorded on Indian films and myself and a couple of my colleagues have decided I would immediately start. I mean, early 95, I finished my film school and I decided to work between production, sound in Indian cinema and thats the only thing I wanted to do. So, to reach here has taken me 13 years of doing production sound on Indian cinema and especially in a place like Bombay, being the fact that Bombay is extremely noisy, ordinary life of Bombay is so busy. To do a film in its professional standard was one of the most challenging jobs for this young man. So, 13 years of my work and technical skill, I had to forget for this film. For this film, I thought I wouldnt record sound for a film. I would record the soundscape of a city. Within that city, the film is evolving. That is how I record it. Many times I have to think in terms of how human perception technically its how that human perception has been created. And on the track that I recorded these two gentlemen, Richard Pryke and Ian Tapp, on the mixing stage, many times we had to technically recreate the human perception which, otherwise, a track which is considered to be not up to production standard of filmmaking, you know. So, its a whole experience of the city thats been transformed in this film. Thats what we have done. I think thats what the academy has acknowledged.