 Mani Ratnam on Ilayaraja, Rehman
 Not
too many people in the world would have had the opportunity to work with two top
music directors of the world - both Ilayaraja and A R Rehman. And not many would
readily answer a question on how to rate the two, and who was better in
comparison. This is a question that one would prefer to duck.
However, ace director Mani
Ratnam was candid in his assessment of the two music directors, when fans and
music buffs posed this question at Landmark where a collection of DVDs of his
films was released.
"Both Ilayaraja and Rehman
are fantastic music directors and I had the good fortune to work with two great
music directors," Mani said.
 "However,
they are poles apart - perhaps very little in common," added the director.
When he said they are worlds apart, someone wanted to know whether he was
referring to Ilayaraja working in the day, and Rehman late at night. Mani
laughed and said he was referring to their style of working.
In fact, initially he had go
through a culture shock, when Rehman was signed up for 'Roja'. Ilayaraja, once
he made up his mind, would not make too many changes. With Rehman, it was
different. He would keep adding to the song.
 However,
Mani Ratnam, put Ilayaraja on a higher pedestal, and lavished praise on the
maestro's re-recording, so important for a film. Ilayaraja would look at the
scene once, and immediately start giving notes to his assistants, as a bunch of
musicians, hovering around him, would collect the notes for their instrument and
go to their places. When the orchestra played out the notes, they would be
perfect, not just in harmony but also in timing - the background score would
commence exactly where it should and end at the exact place required, pointed
out Mani Ratnam, amidst applause. Ilayaraja was a genius, he said, who could
compose music with just one look at the scene.
However, for a director, there
was just one handicap. "Ilayaraja will listen to you as you explain the
scene, and what he intends to convey. Once the film rolls, Ilayaraja's gaze will
be on the screen and a few seconds later, papers would go to the musicians
giving them the score, and then there would be no further changes. A director
can be taken by surprise at the speed of events. If at all you want to convey
anything to Ilayaraja, it must be before he watches the shot (before the
background score is added) on to the screen," said Mani amidst both
laughter and applause.
 There
were several questions flung at Mani on why music was important to him and why
he needed songs in hs films. Mani said he couldn't imagine his films without
music. "Music is an integral part of my films. If you look at 'Anjali', 'Mouna
Ragam' or 'Thalapathi' without music, it would be a different experience for the
viewers. Similarly, Rehman's songs have been a big contributing factor too.
Howeer, we directors do have problems in providing for songs while we do the
screenplay! The toughest thing is to break the story to provide a song. I would
like to do away with songs, but everyone wants songs in an Indian film."
Looking at P C Sreeram, who was
seated in the front row, "Among the few who have made films without songs
is Sreeram, who provided Kuruthipunal," Mani said.
"I like listening to
songs, even watching clips of songs on TV but the tough thing is to provide
songs in films," he added.
R Rangaraj
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