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Sep 14, 2007 13:04 ET
The Honorees Are Bill Gates, AR Rahman, Richard Gere, Late Dhirubhai Ambani, N.R. Narayana Murthy, Tata Group of Companies, New York Life Insurance
WASHINGTON, DC--(Marketwire - September 14, 2007) - CineMaya Media Group, Inc. (PINKSHEETS: CNMY), the leading South Asian media, entertainment, and marketing company servicing the Indian community worldwide, held the inaugural CineMaya Media Group Indian & American Achiever Awards on Thursday, September 13, 2007 at The John F. Kennedy Center for the Performing Arts in Washington, D.C.
The prestigious awards were instituted to recognize individuals and companies who have excelled in their fields, in four separate categories. There were two Honorees in each category, one an Indian and the other an American. The winners were:
-- Innovation, Science & Technology
-- Indian: N. R. Narayana Murthy, Chairman & Chief Mentor, Infosys
-- American: Bill Gates, Chairman, Microsoft
-- Arts, Entertainment and Media
-- Indian: AR Rahman
-- American: Richard Gere
-- Multi-National Company
-- Indian: Tata Group of Companies
-- American: New York Life Insurance
-- Gandhi Lifetime Achievement Award
-- Indian: Late Dhirubhai Ambani
-- American: Bill Gates, Founder, Gates Foundation
Officials from the respective entities and personalities were on hand to receive the honors.
The glittering, black-tie evening featured a gala dinner at the Atrium & Foyers packed with VIPs, Dignitaries and Diplomats from many countries, the corporate sector, media, and community leaders from North America.
Supported by the US-India Business Council, this inaugural event is celebrating the 60th Anniversary of India's Independence and recognizing individuals and multi-national corporations (MNCs) who have contributed towards the collective advancement and growth of the two largest democracies in the world. http://www.cinemayamedia.com/IAAA/awards.htm.
AR Rahman performed a rendition of Jana Gana Mana, The Indian National Anthem, accompanied on vocals by Penn Masala, the world's finest Indian a-cappella group, which also sang the American National Anthem.
Interspersed with the Awards were performances by internationally acclaimed maestros of Indian music:
-- Dr. Balamurali Krishna and Pandit Ajoy Chakraborty (in a duet --
jugalbandi)
-- Pandit Birju Maharaj
-- Pandit Shiv Kumar Sharma
The artists received standing ovations from the black-tie audience.
The evening was eloquently hosted by rising Bollywood star Kunal Khemu.
The Chief Guest of the event was Honorable Ambassador from India to the United States, Ronen Sen.
CineMaya Media Group has also instituted a Scholarship Endowment through this event, which aims to encourage the efforts of deserving Indian-American students who have displayed great potential in various subjects, and give them knowledge, resources, and mentoring for advancement from the Honorees in each category for one year. Four undergraduate students will be awarded scholarships of $5,000 each (one per category of awards). Details of the Scholarship Endowment application criteria and process will be announced after final consultation with the Honorees.
Commenting on the event and endowment, AR Rahman said, "I am very humbled that I was chosen for such an occasion. The institution of this endowment will pave the way for Indian-American students to excel in their fields with mentoring and opportunity for international exposure. It is a wonderful thought, and I look forward to doing my role of mentoring through this endeavor."
The panel of esteemed BOARD OF ADVISORS & JUDGES selected the Honorees in each category of awards. The panel consisted of: Hon. Ambassador Robert D. Blackwill; Hon. Ambassador Vijay Nambiar -- Chef de Cabinet, United Nations; Ron Somers -- President, US-India Business Council; Dr. Jayaraman -- Executive Director, Bharatiya Vidya Bhavan; and Prof. Sreenath Sreenivasan -- Dean of Students, Columbia Graduate School of Journalism, and Co-Founder SAJA.
The principal sponsors of the event include Air France, Nationwide, DIRECTV, and Air India. Patrons include State Bank of India, HSBC, and ICICI Securities.
For more information about The Indian & American Achiever Awards or to see pictures from the event, visit www.cinemayamedia.com/awards.
About CineMaya Media Group:
CineMaya Media Group, Inc. (PINKSHEETS: CNMY) is the leading provider of high quality international South Asian media, entertainment, and marketing services. Established in 2000 as a vertically-integrated company, CineMaya Media Group has since grown into a mini-conglomerate in the ethnic media landscape through its robust businesses within the following areas: Publication, Broadcast Television, Radio, Film & Television Production, Events, and Advertising. For more information on CineMaya Media, please visit www.cinemayamedia.com.
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Indian & American Achiever Awards Held in Washington, D.C.
Shooting begins for Subhash Ghai's Yuvraaj
13 September 2007, 07:49 PM
A 21 days schedule will be held in
RGV on AR Rahman
Initially, when he used to make movies, he used to get involved right from scripting to music, to editing to post production work and finish the product. That's how a Satya or a Rangeela got made.
Nowadays, he just does not focus on all these and just directs the movie. Also his steam to direct movies also fades in between of making one movie.
One statement he said sums it all. When asked that why he hadn't worked with A.R. Rahman, he said, "I do not have the patience to work with him. He is a genius and takes time to compose music, whereas I have no patience and if I want something, I want it like yesterday, instant".
That shows that his focus is going way.
I do not want to lose out on watching such a talented director making movies, to so many critics putting him down, and him getting his own downfall.
Above article is an excerpt from Indiafm
The return note - Pyarelal
"Do you think Pyarelal Sharma sounds okay?" asks music director Pyarelal of the Laxmikant-Pyarelal duo. Indeed, for generations who have grown up humming their compositions since the LP melody wave hit the Hindi film music scene with Parasmani (1963) and Hansta hua noorani chehra in the early 1960s, the LP brand has been inseparable with over 500-plus films composed by the industry's most prolific and successful music directors ever. No wonder Pyarelal, who's been making consistent go's at music collaborations abroad over the last few years, hesitates highlighting his new solo nomenclature. "Though that's how I have let my name appear in the symphonies that I am composing for the Royal Philharmonic Orchestra for the last two years, the LP tag will always remain for any film I have done or will do." It's been the same nearly a decade since Laxmikant's demise in 1998, with the 'LP tag' once again being the only brief with which director-choreographer Farah Khan convinced the veteran music director to come off his self-imposed exile from the current film music scene to compose a song for Shah Rukh Khan's Om Shanti Om. "She wanted the typical LP style of music from the 'Seventies to go with the flashback track in the film that revolves around the theme of reincarnation," he says. So what's the LP style of music, one may wonder and he says after a long pause…"That's for the music lovers and critics to decide, but I think it's that music jo purana hote huye bhi, jiske sound mein freshness hai…Farah wanted me to do three songs, but I said I will do just one, but a good song," he says, adding, "I had initially refused her, as I have gone a bit low on doing films after Deewana Mastana (1997), but my daughter convinced me to take up the project." And in LP style the song's recording happened with a 150-plus orchestra, a rarity in today's age of digitally-arranged music making. "Nobody works with an orchestra these days, but Farah was very cooperative to my insistence on recording the song with an orchestra only. We used 40-45 different drums ranging from tabla and dhol to duff, 40 plus violins and 22 woodwinds amongst other instruments for the song," he informs. "We always had one of the most exhaustive orchestras in the industry," says Pyarelal Ramprasad Sharma, who along with Laxmikant Shantaram Kudalkar, "used to source musicians from navy and police bands, and made regular trips to old hotels with famous in-house bands like the Ambassador and Ritz to spot new talent. We also had some of today's classical greats like Pandit Hariprasad Chaurasia, Pandit Shiv Kumar Sharma, Ustad Rais Khan, Ustad Sultan Khan amongst others perform for us. We always had nearly 50 musicians on the payroll irrespective of the availability of work."
Ruing that the orchestra has been done away by today's music directors "because many don't know how to handle one," he says, "Today different aspects of music in a film are handled by different individuals other than the music directors. But in our days, we used to do everything from arranging the music to doing the film's background score, apart from composing the songs. We rose from the second bottom in the music-making hierarchy to become music directors."
So when Pyarelal stepped in for doing even just one song for Farah Khan, it was on his own terms with the attendant regalia that's signature LP. "Unlike today's music directors, I still work from home. So we had two rehearsals at home followed by one in Yash Raj Studios. The song was created in nine shifts spread over three days," informs Pyarelal about the song written by Javed Akhtar. "Its lyrics go something like Dhinak dhinak dhin and I felt nice composing it. I am quite keen on seeing how it looks on the big screen," he adds.
Does that mean we get to hear more of him finally? "I come from an era where music directors didn't hang around studios or randomly chatted up directors asking for work. Though we too had our fair share of struggle, at least now I am well past that stage. We have always believed in long- term relationships with the directors we have worked for and with someone like Farah who has an ear for music, I would love to do a full film in future," he opines.
Incidentally, the music director has composed a bank of tunes in the meantime to be used soon with a few big banners he is currently in talks with. "So Om Shanti Om isn't a comeback. You will get to hear some big announcements within the next year-and-a-half," he informs.
Simultaneously, the violinist, who once contemplated moving to Venice to work with western bands before meeting Laxmikant, is kind of realising his western dream doing symphonies for the London Philharmonic Orchestra. "I have already composed a few and I am working on two-three more symphonies with the Royal Philharmonic Orchestra, which will be played at the Royal Festival in London next year. It takes at least six to eight months to compose one symphony," says Pyarelal, hoping that one day he will do the background score of a Hindi film with the Philharmonic. "Indian instruments fused with a western orchestra will create a new sound, which would appeal to fusion lovers in both east and west. One only needs an Indian filmmaker to have the vision to accommodate such experimentation," he avers.
Pyarelal, who is currently also working on a music album with Indian and Pakistani singers, had released an album titled Indian Summer containing eight pieces for string quartet in March this year for the UK-based company Schott. Trinity College's professor of music Candida Connolly in her introduction to the album writes, "These pieces reflect the richness of the musical background, a strong diatonic base and a thoughtful blend of instrumental parts infused by the distinctive colour and flavour of the Indian sub-continent... These are entities in their own right. These quartets are not arrangements or adaptations of other music, the pieces are designed to simulate the western ear by causing the familiarity of the quartet medium with new exciting ideas from the world of Indian music."
However, apart from making music from myriad platforms, Pyarelal also has to deal with frequent invitations to judge the various music-based reality shows on TV. "My only condition is that I will be a solo judge. The last time I helmed a music show was few years back to judge the finalists on Zee TV's Sa Re Ga Ma Pa, who were performing in front of a live audience in Noida. I had given one of the contestants three out of 100. When the organisers feigned shock, I said even singers like Lata didi, Asha and Kishore are in the 60-70 range. I didn't take a single penny for my judge act then, but what I see happening on the reality shows on TV today is a bit incomprehensible. Hasn't India still got its voice that we are searching for a voice of India? And I don't understand what's the body language judges are looking for in singing," he wonders, informing that he had also objected to one of the music shows associating gharanas to music directors. "It's wrong and misleading as these music directors don't have any gharana in the first place." Pyarelal, who succinctly lists the lacunae of each of the three reality music shows on air these days, is happy however with some of the talent on display. "Even the best singers used to occasionally get besura during recordings, the judges shouldn't be so harsh," he says informing that the original title track of Hero Honda Sa Re Ga Ma Pa incidentally was actually set to the tune of pa dha ni sa.
He is also all praise for one of the current Sa Re Ga Ma Pa judges and Om Shanti Om's music directors Vishal and Shekhar. "They are very well-behaved and are good with soft music. Most of the judges in the show have worked with us. While Ismail Darbar used to play violin for us, Himesh's father used to arrange music for us for years on end. Even AR Rahman had once played for us when he was known as Dileep," he reveals.
But it's really a tough call to get him pick a favourite film score from contemporary compositions. "I think the last film score that appealed to me in its entirety was AR Rahman's Roja. Its music was different and I liked it."
Life could seem to have come a full circle, but a deeper probe provokes forth a raw hurt, however subdued. The living legend of the multiple awards-winning music director jodi rues the lack of due recognition to their contributions. "Though many who came after us and worked with us have been recognised by the government, it's quite an irony that while one of our singers Lata didi has received the Bharat Ratna, we are yet to even receive a Padma Shri."
Rajnikanth rocks
| Having tasted success, Sivaji's producers are planning its Japanese and Malay versions |
| Having struck gold at the box office in India and abroad with Rajnikanth starrer Sivaji: The Boss, AVM Productions is trying to work out another foreign release in Malay and Chinese as dubbed versions. But, playing it safe, S C Babu, CEO, AVM Productions insists that it is too early to make an announcement as the talks with foreign counterparts are still in early stages. |
| The movie is likely to be screened at the Tokyo International Film Festival in the first week of October and discussions are on to release the movie in Japan with Japanese subtitles. |
| Rajnikanth has a strong fan base in Japan and the local demand is backed by local fan following and not just Indians living in Japan. According to Babu, the universal appeal of the music scored by A R Rahman along with the strong visual attraction (all those stunning sets created by Thota Tharrani) are strong drivers for the demand for this movie in foreign countries. |
| The background score for the movie was recorded in Prague, Czech Republic, using local musicians by an American music conductor. |
| Shivaji has already been released in Malaysia in its original form (Tamil) and it has created history by beating the highest Malay grosser in the country. |
| Back home, the movie will complete its 100 days on September 23. �The estimates of box office collections so far would be available only by the end of the month, � says Babu. Rough estimates reported in the media so far range between Rs 200-450 crore, a number that the production house insists is inaccurate. |
| The dubbed Hindi version of the movie is also under production. �Though there have been rumours about a Diwali release, we feel the festival would not be the right time for the release of the Hindi version. The reason being that the deadline is too short and also, we would look at a less competitive timing for the release. After all, the original Tamil version has already been released and tasted great success in the so-called northern markets,� says Babu. |
| Sivaji has been a great success in markets like Julandhar, Lucknow and Jaipur apart from metropolitan cities like Mumbai and Delhi. |
| For the Hindi dubbed version, certain parts of the movie will need to be reshot to make it relevant to the Hindi audience. Mumbai writer and lyricist Swanand Kirkire, who wrote the dialogues for movies like Eklavya and Chameli, is writing the Hindi version of Sivaji). |
| The television rights for the movie were recently bought by Kalaignar TV � the yet to be launched DMK party backed TV Channel � for an undisclosed price. While Babu refused to discuss the subject, industry sources said that the TV rights have been sold for Rs 3-4 crore. Under the contract, the buyers reportedly cannot broadcast movie for three years. |
| Despite tight controls over the prints, Sivaji has already become a victim among movie pirates. |
| �As long as the film is in the analog version, there is very little we can do to control piracy. With 800 prints in circulation, curbing piracy is a logistic nightmare,� says Babu. |
AR Rahman to perform at John F. Kennedy Center
IndiaGlitz [Wednesday, September 12, 2007]
India's finest and most reputed international music director, AR Rahman, will perform Jana Gana Mana - The National Anthem of India at the inaugural CineMaya Media Group Indian & American Achiever Awards on Thursday, September 13, 2007 at The John F. Kennedy Center for the Performing Arts in Washington D.C.
Beloved for his renditions of Maa Tujhe Salaam and Vande Matram, AR Rahman is one of the most prolific music composers of his generation internationally. He has scored the music for number of popular and critically acclaimed films.
His first movie album Roja was listed in TIME magazine's "Top 10 Movie Soundtracks of All Time". AR Rahman has also achieved international acclaim for his musical compositions. He has composed the score for Shekhar Kapur's film 'Elizabeth: The Golden Age'. Andrew Lloyd Webber, well-known composer of musicals, hired AR Rahman to compose his maiden stage production, 'Bombay Dreams' in 2002. He has also composed the music for 'The Lord of the Rings' theatre production, which first opened in Toronto on March 23, 2006.
Rahman says "It is my great honor to be able to sing Jana Gana Mana, India's National Anthem during the 60th Year of Independence Celebrations in the heart of the US Capital. CineMaya Media is doing a great job by celebrating the 60th Anniversary of India's Independence and recognizing individuals and MNCs which have contributed towards the collective advancement and growth of the two largest democracies in the world. "
Supported by the US-India Business Council, this inaugural event also features performances by internationally acclaimed maestros of Indian music Dr. Balamurali Krishna and Pandit Ajoy Chakraborty (in a duet - jugalbandi), Pandit Birju Maharaj, and Pandit Shiv Kumar Sharma.
The evening is hosted by rising Bollywood star, Kunal Khemu and the US National Anthem will be performed by Penn Masala, the world's first and premier Indian a-cappella group.
The prestigious awards are instituted to recognize individuals and companies who have excelled in their fields, in four separate categories. There will be two Honorees in each category, one an Indian and the other an American. The categories are Innovation, Science & Technology, Arts, Entertainment and Media, Multi-National Company & Gandhi Lifetime Achievement Award
The list of Nominees is impressive as it includes great individual achievers in their respective fields, such as President Bill Clinton, Rupert Murdoch, Bill Gates, A. R. Rahman, N. R. Narayana Murthy, Shahrukh Khan, and Dr. Deepak Chopra, amongst other great individuals and corporations.
Elizabeth: The Golden Age
TORONTO -- Queen Bess is back in fine form in "Elizabeth: The Golden Age," the second of a potential three-part historical romance about England's Virgin Queen. Cate Blanchett has lost none of the brio that earned her an Oscar nom for 1998's "Elizabeth." Nor has returning director Shekhar Kapur toned down any of the energetic camera moves, pageantry or vivid colors he deployed to reformulate historical drama in the original movie. This is history writ large, presented in terms of larger-than-life personalities rather than changing political, social and religious climates. It's robust historical fiction, designed as movie spectacle, which calls out to toss aside dusty history books and join the fun.
The good queen is now in her third decade of rule. No longer a young girl struggling to learn the ruthless ways of court life, Elizabeth is thoroughly at home with flattering wooers, fawning sycophants and courtly spectacle. (Indeed, with Kapur at the helm, her court looks like a circus with exotic humans, wild animals and nimble dancers vying for her pleasure.)
Storm clouds gather across the English Channel in Spain where King Philip II (Jordi Molla) assembles his Catholic forces to free England from its Protestant queen. This marks the filmmakers' attempt to contemporize 16th century European conflicts in a model resembling our modern struggle with religious fundamentalism. Elizabeth is seen here as the leader of the forces of enlightenment and liberality -- which is not entirely inaccurate -- against the religious intolerance and barbarism of the Spanish Inquisition.
In Michael Hirst (who wrote the first movie) and William Nicholson's screenplay, Elizabeth is a woman of action and sharp words rather than the historical Elizabeth, a notorious ditherer -- who nevertheless was a shrewd politician and social engineer -- and a ruler whose motto was "I see and keep silent."
Her circle of advisors has been reduced to one, the great spymaster Sir Francis Walsingham (a returning Geoffrey Rush). Her romantic interest falls on a person who was indeed a favorite courtier yet one historical gossip usually omits from her list of alleged lovers, the dashing explorer and author Sir Walter Raleigh (Clive Owen).
The writers have moved up Raleigh's clandestine affair and marriage to lady-in-waiting Bess Throkmorton (Abbie Cornish) by several years so it can coincide with the legendary English defeat of the Spanish Armada. Raleigh plays a huge (and historically unlikely) role in this version of that battle but one that fits in well with the escalating drama of the Queen's personal and public crises.
That naval battle, recreated through all manner of movie trickery from digital effects to underwater action, is wonderfully staged and not too elaborate. (End credits even mention the use of footage from David Lean's "Ryan's Daughter," possibly those mighty waves crashing on a dark, rocky shore.) Blanchett in her glistening body armor astride a fine stallion overlooking the sea, delivering a great rally speech to the troops, gives the movie its most resplendent moment of sheer majesty.
Yet whether in her bath or glaring at underlings, Blanchett has made this Queen her own, a woman of fierce independence and thought, who only in her most private moments yearns for the male touch that she must deny herself. For virginity is part of her statecraft.
Rush is wily and self-contained as the spymaster while Owen as Sir Walter channels a toned down yet still quite debonair Errol Flynn. Cornish comes off a little too sweet and reserved for the rebellious Bess. The film never finds a way to fully utilize Samantha Morton as the ill-fated Mary, Queen of Scots, and fudges Walsingham's own possible role in Mary's "treason."
All in all, it's a grand package of hearty acting, design and action with the only caveat being that unlike the first film this "Elizabeth" can no longer surprise us with its modern twists.
ELIZABETH: THE GOLDEN AGE
Universal Pictures
Working Title Films
Director: Shekhar Kapur
Writers: Michael Hirst, William Nicholson
Producers: Tim Bevan, Eric Fellner, Jonathan Cavendish
Executive producers: Debra Haywood, Liza Chasin, Michael Hirst
Director of photography: Remi Adefarasin
Production designer: Guy Hendrix Dyas
Costume designer: Alexandra Byrne
Music: Craig Armstrong, AR Rahman
Editor: Jill
Cast:
Elizabeth: Clate Blanchett
Sir Francis Walsingham: Geoffrey Rush
Sir Walter Raleigh: Clive Owen
Bess Throkmorton: Abbie Cornish
Mary: Samantha Morton
Robert Reston: Rhyr Ifans
King Philip II: Jordi Molla
MPAA rating PG-13, running time 115 minutes
Excerpt from The Hollywood Reporter
We need to be like Michael Jackson
AR Rahman tells Myleene Klass of CNN about evolution of music in Indian films
Do you think the use of music in Bollywood films has become slightly more sophisticated?
Yeah, there is a film called ‘Rang De Basanti’ which also was the official entry from India for Oscars, and this film, when I was doing it, I never knew that the music would reach so many people across the globe.
The songs were lip synced, just used like a background, but it seemed to blended well with the screenplay and the story. So I think it clearly proved that the people are changing and they are looking forward to more sophistic and non cliché stuff.
Was there a growing division, do you think, between films, between Indian films that are favoured by rural audiences and urban audiences?
I think the line is becoming thinner and thinner, really, because, unlike a couple of decades ago where people didn’t know anything about the happening outside. Now people know what it is that Hollywood and Chinese films are made of. This influences people and so filmmakers are compelled to do stuff which is world class.
I can see that the past six years a massive change has happened and there are extraordinary filmmakers who are evolving.
What do you think are the qualities of a truly great composer?
One needs to transcend somebody by even if it is just one instrument theme. And now the challenges of the composers are much more as its not just about composing a great theme. One needs to know recording, production and how to intertwine music with the movie.
And with Indian films it is an even greater challenge, because we need to be like a Michael Jackson or John Williams, Hans Summer and an Indian folk composer and put all of them together. So they expect finesse and they expect versatility.
Prakash goes Rahman's way
Quite like his uncle A R Rahman, the young music composer G V Prakash, the new entrant to Tamil film music is also doing his composing songs during night times.
Echoing Rahman, he says, “Night gives me a calm and serene atmosphere to work. Without any disturbance, I can get quality output during night times. I need perfect silence to produce quality songs”.
It may be recalled that Harris Jayaraj, another happening music director of Kollywood also prefer nights to compose songs.
Sultan the warrior-AR Rahman - Rajnikanth-Trailer
Watch the trailer of Rajnikanth, AR Rahman united animated film - Sultan the Warrior
Asianet Theme by A.R.Rahman
Believe me, this one is the most wonderful jingle I have ever watched/heard.
Walk the talk with AR Rahman in NDTV
Visit the walk the talk with A.R.Rahman on NDTV related to Janaganamana video.
Walk the talk with AR Rahman
Sreesanth pens pep number for SA tour
Thiruvananthapuram • There’s perhaps no better way to troop into the Tewnty20 battlefield than by trumpeting, or rather improvising a marching tune. Kerala’s S Sreesanth has done just that, penning a six-liner for the hangama in South Africa.
Sreesanth’s Jago India has been sung by his brother-in-law Madhu Balakrishnan, recently a recipient of two awards from Tamil Nadu Government. The song is part of a music video album, produced Deepu Santh, his elder brother, and directed by Srikanth Murali, an associate of ace director Priyadarshan.
It’s the opening number of the 11-song Hindi music album and the bowler’s lines echo the A R Rahman patriotic numbers. Sreesanth’s lines offer a perfect prelude to the gladiatorial moments on the cricketing arena in South Africa, just days away.
He should be planning sweet recompense for the recent downturns in his career, coming home a cipher from the England tourney and the loss of 50 per cent earnings for his casual brash acts against rivals on the field.
Releasing the video of the song, Sreesanth said: “The song showcases Indian spirit and sentiment. It revolves round aspirations and hopes of the nation in the twenty20 World Cup”.
Har raat, har subha
Dekha hai khwaab yeh
Saara hindustaan
Saara hindustaan
Jagoo India...
Deepak Warrier, a BTech student of Federal Institute of Science and Technology, Kochi, has lent the tune. The speedster, famous for his on-field jigs, acts the song along with Madhu Balakrishnan and team of models. The album was shot at different locations in the country.
Reports say Sreesanth is aiming to make an impact with his slower ball in South Africa, where he caught the eye on tour nine months ago.
“I’ve basically been working on my slower ball. Twenty20 is about four overs per bowler and if I get my slower balls in the right areas, you end up getting a lot of wickets,” he told a journal recently.
The video is likely to be shown on TV channels during the SA tour. He is looking forward to playing in his hometown Kochi in the ensuing one-day series against Australia.
Asked at a school gathering in New Delhi recently about his impromptu dance after hitting a straight six against tall, imposing South African pace bowler Andre Nel during last year’s Test series, Sreesanth replied: “It wasn’t a dance, it was more like riding a horse”. That’s the kind of mood in which the 24-yearold is at the moment.Thrilled Rahman
A R Rahman is thrilled to score music for the animated movie Sultan The Warrior that would feature Rajnikanth.
Says Rahman, ' composing music for an animated movie is no easy joke. It is very demanding. Everything is artificial in an animated film, but the music plays a prominent film.Music is no doubt a character in such movies. I am excited to work in the project that features Rajnikanth'.
Rahman has been assigned to work for Golden Age, an English film, to be directed by Sheker Kapur. 'I know Shekher for over 10 years. We had worked for a advertisement commercial before. To be part of his movie is a great joy,' says Rahman. Grammy award- winner Craig Armstrong is also working with Rahman for the movie.Rahman, Shekhar Kapur come together
Music composer A R Rahman, who achieved great laurels in Tamil and Hindi movies besides making his presence felt in global arena, will compose music for an English movie to be directed by Shekhar Kapur.
Rahman says, “I worked with Shekhar for an ad jingle before. I was thrilled when he approached me to work in his movie”.
Rahman is currently working in a couple of Hindi ventures besides Sakkarakatti, Azhagiya Tamil Magan and a movie with director Goutham Vasudev Menon.
New song for Sivaji (Hindi)
The Hindi version of Sivaji will see Rajnikant pay homage to current Bollywood screen icon Shah Rukh Khan in a specially added song.
The film, which will release after Diwali, will see Rajnikanth in the guise of the Rukhster as well as enacting like yesteryear actor Shammi Kapoor. Rajnikant was also asked to parody Amitabh Bachchan, but he refused due to the immense respect he has for the legend.
A.R. Rahman is to compose this song which Rajnikanth and the film's actress Shriya will begin shooting in the next month.
The most awarded musician
National Film Awards (India)
1993 - National Film Award for Best Music Direction - Roja
1997 - National Film Award for Best Music Direction - Minsaara Kanavu
2002 - National Film Award for Best Music Direction - Lagaan
2003 - National Film Award for Best Music Direction - Kannathil Muthamittal
Filmfare Awards (India)
1995 - Filmfare Best Music Director Award - Rangeela
1998 - Filmfare Best Music Director Award - Dil Se
1999 - Filmfare Best Music Director Award - Taal
2001 - Filmfare Best Music Director Award - Lagaan
2002 - Filmfare Best Music Director Award - Saathiya
2002 - Filmfare Best Background Score - The Legend of Bhagat Singh
2004 - Filmfare Best Background Score - Swades
2006 - Filmfare Best Music Director Award - Rang de Basanti
He also won a "Filmfare R D Burman Music Debutant Award" for Roja's dubbed Hindi version.
South Indian Filmfare Awards
1993 - Best Music - Roja
1994 - Best Music - Gentleman
1995 - Best Music - Kadhalan
1996 - Best Music - Bombay
1997 - Best Music - Kadhal Desam
1998 - Best Music - Minsaara Kanavu
1999 - Best Music - Jeans
2000 - Best Music - Mudhalvan
2001 - Best Music - Alaipayuthey
2006 - Best Music - Sillunu Oru Kadhal
Tamil Nadu State Film Awards
1993 - Best Music - Roja
1994 - Best Music - Gentleman
1995 - Best Music - Kadhalan
1996 - Best Music - Bombay
1997 - Best Music - Minsaara Kanavu
2000 - Best Music - Sangamam
Zee Cine Awards (India)
2000 - ** 2002 - Zee Cine Award Best Music Director - Lagaan
2006 - Zee Cine Award Best Music Director - Rang De Basanti
GIFA Awards (Malaysia)
2006 - GIFA Award for Best Music - Rang De Basanti
2006 - GIFA Award for Best Background Music - Rang De Basanti
IIFA Awards (UK/South Africa/Malaysia/Yorkshire)
2007 - IIFA Best Music Direction - Rang De Basanti
2002 - IIFA Best Music Direction - Lagaan
2003 - IIFA Best Music Direction - Saathiya
2000 - IIFA Best Music Direction - Taal
Star Screen Awards
2002 - Best Background Music
Swaralaya Yesudas Award (India)
2006 - Swaralaya-Kairali-Yesudas Award for outstanding performance in music field
2000 - Padma Shri (India)
Please leave a comment on this post if I have missed any in the list, and in case the list continues to add and I forgot to add.
