Must read/must see IR related articles and interviews

watch how Ilayaraja interprets Bach music in Carnatic form, mindblowing! (also I think there are two Raagas here - the first part (high notes) and then the second part (lower notes))

Re-posting from the Anything on IR on net -2's thread.

1. Posted a twitlonger collecting excerpts from IR's book, Paal Nila Paadhai. Reproducing it here:

http://t.co/8iaUYJb5aP

I wrote:

@nom_d_plum As promised yesterday. Excerpts from Paal Nila Paadhai.

I found IR's reasoning for his arrogance quite interesting. Sharing from a few chapters. I enjoyed the book and highly recommend it to every IR fan. It is an autobiography of sorts, with anecdotal accounts. His early life, Pannaipuram, life with brothers Bhaskar and Pavalar Varadarajan, life of a coolie laborer in Pannaipuram, his mother, Master Dhanraj, MSV, an entire final chapter on memories with Sivaji and his irudhi oorvalam (IR (not minding his high fever and doc's instructions to be in the bed, says he has wept this much only for his brother Pavalar), Kamal, Rajni and Vijayakanth accompanying the body with Bharathiraja joining later, enakku mei silirthu pOchu with IR's description of the final oorvalam and almost kaN kalangal; one true கலைஞன்'s words on another from his heart). Kavitha Publications, 8, Masilamani Street, Pondy Bazaar, T Nagar. Ph: 24364243, 24322177 is where you get this book(I got this with 4 other books (5 in all) by IR as one book titled "Yaarukku Yaar Ezhudhuvadhu" from the recent Chennai book fair. This and Sangeedha Kanavugal are autobios. Other 3 are poetry collections).

On to the excerpts. IR on his arrogance:

டைரக்டர் ஸ்ரீதர் அவர்கள், எனக்கும் பாரதிராஜாவுக்கும் அண்ணன் பாஸ்கருக்கும் மிகவும் பிடிக்கும். அவருடைய படங்கள் -- முதல் நாள் முதல் காட்சியிலேயே பார்த்து விடுவோம்.

அப்படிப்பட்ட ஸ்ரீதர் அவர்கள் 'இளமை ஊஞ்சலாடுகிறது' படத்திற்கு என்னை இசையமைக்க அழைத்தபோது அதிர்ச்சியாகி விட்டேன். மகிழ்ச்சிக்குப் பதிலாக அதிர்ச்சி? என்று நினைப்பீர்கள்! அதுவரைக்கும் ஸ்ரீதர் சாரோடு M.S.V அண்ணன் 58 திரைப்படங்களுக்கு இசையமைத்தார் என்பதை அவர்கள் இருவரும் மறந்திருக்கலாம். ஆனால், நான் குறித்து வைத்திருக்கிறேன். என் நெஞ்சில்! எந்த ஒரு படத்தின் இசையும் மட்டம் என்று தள்ளிவிட முடியாது.

அப்படிப்பட்ட M.S.Vயை வேண்டாம் என்று சொல்ல அவர் இசை காரணமாக இருக்க முடியாது. என்னிடம் வருவதற்கும் என் இசை காரணமில்லை. இரண்டிற்கும் நடுவில் ஏதோ இருக்கிறதென்றும், ஜனங்கள் என்னை விரும்புகிறார்கள் என்றும் மனதில் உறுத்தியது. அடடா! என்னடா. இந்த விவஸ்தைகெட்ட சினிமா உலகம்? இதோடு நான் எப்படி ஒத்து போவது? இன்னும் கொஞ்சம் சினிமாவை தூரமாக்கி இசையை மட்டும் அருகில் வைத்துக்கொண்டேன்.

He briefly digresses and comes back to the point by saying he tried to move away from Sridhar after "Azhage Unnai Aaraadhikkiren" and tried to send him away saying he's busy, etc. but Sridhar was saying it'll take you only a few hours to finish composing for the entire film, what is the big deal. Raaja kept procrastinating and Sridhar finally got fed and told him after 6 visits that he's not done this waiting to even MGR and Sivaji.

Raaja: என்ன சொல்றீங்க? ஆறு தடவ நான் உங்கள வர சொல்லவே இல்லையே? அதிர்ந்து போன அவர், இருந்தாலும் கோபத்தை கொஞ்சம் குறைத்து கொண்டு "ராஜா, ஒரே composing, நான்கு மணி நேரம் போதும் எனக்கு" என்று தொடங்கினார்.

நான் இடைமறித்தேன். "சார், ஸ்ரீதர் அவர்கள் படத்தில் பாடல் சரியில்லை என்று சொன்னால், ரசிகர்கள் ஸ்ரீதர் பாடல் சரியில்லை என்று சொல்வார்களா, இல்லை என் படலை சரி இல்லை என்பார்களா?"

"இல்ல ராஜா!"

"சார் இதுவரைக்கும் 58 படங்களுக்கு MSV அண்ணன் உங்களுக்கு இசையமைத்திருக்கிறார். அதில் ஒரு பாட்டும் சோடையில்ல! அப்படி இருக்க உங்க குறிப்பிட்ட நேரத்துக்குள்ள, எதையோ record செய்து கொடுத்து ரசிகர்கள் கிட்ட திட்டு வாங்க நான் தயாரா இல்ல. தயவு செய்து படத்துக்கு வேறு யாரையாவது வெச்சு முடிச்சுக்குங்க, என்ன மன்னிச்சுருங்க" என்று சொல்லி மறுத்துவிட்டேன். பாஸ்கரும் அமரும் பாரதிராஜாவும் "உனக்கு ரொம்ப மண்டைக்கர்வம்" என்று திட்டினார்கள். ஆமாம் மண்டைக்கர்வம் தான்! அன்று இரவு மகிழ்ச்சியாக தூங்கினேன்.

He also tells in a different place (unable to spot now) that he decided to use this facade of arrogance since the industry that threw MSV away for him would some day throw him away for someone else. "Why should I respect them for a position which is not permanent?" is his philosophy as I understand.

I say facade because he shares an incident with painter Shilpi of whom IR was a big fan of since his Pannaipuram days via Ananda Vikatan paintings. Now a big composer, he decides to use Shilpi to paint Mookambika's vigraham from Kollur and place it in his pooja room and sends his asst. Asst comes back saying Shilpi won't work and that he spoke arrogantly about Raaja in ஏகவசனம் and said IR is just another cinema guy and to paint, he quoted an exorbitant amount. IR says he felt Shilpi is an artiste not different from him who uses this facade of arrogance to shoo away commercially inclined people. To prove to Shilpi that he is not just a cinema guy, IR agrees to the exorbitant amount. Shilpi is shocked. IR later visits Shilpi in person, tells he is a big fan and begins talking about the dichotomy in art. A dichotomy where an artist(e) will readily give any piece of creation close to his heart to a ரசிகன் who can appreciate the art truly for free and a ரசிகன் who would give any amount to a piece of art he considers priceless if he has the means. In his own words, "ஓர் உயர்ந்த படைப்பை, உணரும் ரசனை ஒன்றே போற்றத்தக்கது!" Shilpi is impressed, they begin chatting, become good friends in minutes and Shilpi agrees to paint Mookambika.

This tells me IR's arrogance is a facade for the commercial world. Creator's pride imo is different from this facade of arrogance he wears. His creator's pride is permanent. His arrogance is a mask. Because he did not mind Shilpi abusing him here.

I shall collect his anecdotes on Masters' views on him soon and twitlong it later in the day.

Forgot a few lines from Kamal's forward which I added later in tweets:

Kamal wrote:
இந்த பிள்ளைக்கி இசை தெரிந்த அளவு சமூக சாதுர்யம் தெரியாது. அந்த சாதுர்யம் தனக்கில்லை, என்ற விமர்சனத்துக்கு அஞ்சி வேடிக்கை மனிதர் கூட்டத்தில் சேராமல் கர்வமாய் தவழ்கிறது. சத்தியமாய் இந்த குழந்தைக்கி வியாபாரம் தெரியாது. ஆனால் கறாரான வியாபாரி போல் நடிக்கும். நடிப்பில் என்னளவு தேர்ச்சி இல்லாததால் குட்டு வெளிப்பட்டு குழம்பும்.

That's all yuvar aanar

2. One more twitlonger. IR on the Masters and Masters on IR:

http://www.twitlonger.com/show/n_1s0ar00

I wrote:
@icarusprakash @nom_d_plum @sagittarian82 @balakarthik78 IR on Masters and Masters on him.

IR speaks highly about Master Dhanraj (MD) and says only MD can understand his own research. MD researched the musical aspects of Silappadhigaaram and would swear that Kovalan sang this song in this chapter in this raaga and had researched stuff to prove himself. IR says MD made him teach the students when IR was quite new to Dhanraj's class and IR learnt from what he taught students. Normally MD takes classes 1 hr classes 2 days a week for one student. idhu maari neraya students in different stages of music (theory, instrumentation practicals) come to him to face exams, become better musicians all the week. IR asked if he could come everyday. MD agreed and taught IR for free and IR says MD brought Bach, Beethoven, Mozart, Brahms, Tchaikovsky every day to the room. Very early in his tutelage, MD asks him to play on the piano and gives him training to differentiate a piano from a harmonium. IR plays an MSV song before scores of students. MD is impressed with the composition and says (I quote from the book here): "See the first phrase! - This is a Question. See the answer! Yes second phrase. It is perfect form of music" என்று theoretical ஆக விளக்கினார். The song is Enna Enna VaarthaigaLO from Vennira Aadai. IR says his respect for MSV went up several notches.

But otherwise, MD was very critical on film composers and would abuse them to heart's content. MSV, KVM, GK Venkatesh, no one escaped his anger. IR says he fell for it briefly but as he was assisting GKV, he got a chance to play for MSV one day and seeing MSV teach every instrumentalist (IR played combo organ for Malar enna en kangal dhaan from Sridhar's Avalukkendru Oru Manam) the notes for their portion and saw that he taught every musician by playing the music from his mouth in 45 minutes. His respect for MSV went up several notches there and he says he felt ashamed that he rated him low with MD's words. MD has the right for he understands Bach, Beethoven, Mozart and compares the film musicians with them and abuses them. But what right do I have, wonders Raaja, who from then on started to revere MSV, who was already a favorite of his. MD also despised IR for entering films and when IR missed a class due to a recording with GKV, MD abused him and refused to teach him for his exam in Trinity College of Music, London, which held its exams in Chennai. IR's self pride hurt after a point of abuse, challenged MD that he'd score 85% (honors) and will only then meet MD. He taught himself to play the instruments and was ready. Theory was a problem since IR hardly knew any English then. Yet, he says the music taught through English made itself clear and he somehow educated himself. And he scored 85%, went with that certificate to MD who eventually exclaimed, "Raaja, you are really great da!"

IR's anecdotes on Naushad, John and Laszlo Kovach are impressive too. Will quote their praises from IR's pen and say what IR thinks of self praise.

IR says he likes CR Subburaman and MSV the most among all old Tamil composers though he respects all. He learns CRS's composition style is based on Naushad's and that increases his respect for Naushad. But also adds CRS did not lose his individuality. Says Naushad, Khmechandra Prakash and Hanslal Bhagatram (under whom Naushad played piano) were the trio that laid the foundations of IFM. Also rates C Ramachandra (SD Burman's mentor, composer of Aye Mere Watan Ke which is unfortunately known as a Lata Mangeshkar song today), Madan Mohan, Roshan, Shankar Jaikishen, OP Nayyar, SDB, Vasant Desai and RDB very highly and each has their own signatures according to IR, something that is missing today, he feels. Goes on to his interactions with Naushad and him sharing his How To Name It with Naushad and inviting him to preside over the launch of Nothing But Wind. Naushad speaks, MSV, Hariprasad Chaurasia, Uttam Singh are on stage. PB Srinivas translates Naushad's Hindi into Tamil for the audience. At one stage, PBS stops, shocked and refuses to translate what Naushad says since he cannot accept Naushad's words. On to Raaja now:

நௌஷாத் அவர்களோ PB ஸ்ரீனிவாஸ் அவர்களை விடவில்லை!
No! No!
This is my true feeling!
You are a translator!
Please do your duty - என்றார்.
PBS மிகவும் தயக்கத்துடன் இழுத்துப்பேச ஆரம்பித்தார்.
விஷயம் இது தான்:
"இளையராஜாவிடம் நெறைய விஷயங்கள் இருக்கின்றன. எனக்கு உடல் நிலை சரியாக இருந்து, நேரமும் இருக்குமானால், இந்த இளைஞனிடம் உட்கார்ந்து கற்று கொள்வதற்கு நான் தயங்க மாட்டேன்." என்றார்.

மற்றவர்கள் என்ன நினைக்கிறார்களோ அறியேன்! இசையென்றால் என்னவென்று அறியாத இந்த பட்டிக்காட்டானிடம், இசை கற்றுக் கொள்ளலாம் என்று கூறிய என் முன்னோடிகளில் முக்கியமானவரான திரு. நௌஷாத் அவர்களின் பாராட்டுக்கள் என்னை மேலும் உற்சாகத்தில் ஆழ்த்துவதற்கு பதிலாக சிறிய புழுவாக்கி விட்டது!

Speaks highly of Naushad, C Ramachandra in other chapters too. He then goes on to talk in detail about Hey Ram which was the first time he went to Budapest to record (Guru la he brought a few Budapest Symphony orchestra people to Chennai to record). He thanks Kamal for arranging it and says it was entirely Kamal's endeavor. Speaks about L Subrahmanyam-Kamal's difference and him doing the film. All this we know. But Kamal and Sarika wanted to share this composition with LS and IR's over the film as a video with the public but IR refuses. He doesn't mind him being praised but doesn't want people to think low of L Subramaniam. Adds he suggested Isaiyil Thodangudhamma as that was not in the screenplay before and Kamal agreed saying the song was hidden in the screenplay and it was the screenplay's magic there that brought this song from IR. Chandrahassan weeps listening to it.

Fast forward to Laszlo Kovach. He calls Laszlo to Chennai to read the symphony score for Hey Ram's BGM and to suggest any possible corrections and Laszlo comes with his wife, Monika. Laszlo reads the score, says it's very good and suggests some very minor corrections which IR changes and writes right there. IR takes Laszlo, tells him the film's tale (LS to IR) and plays LS's version of Nee Paartha Paarvaikki. Laszlo enjoys it and immensely appreciates LS. IR then plays his version over the video. Laszlo goes silent. And leaves. On to IR: "You didn't tell me anything about my song? It is not good? I want to know your true opinion about my composition. Even if you don't like it!" என்று எனக்குத் தெரிந்த ஆங்கிலத்தில் கேட்டேன்.

நடந்துக்கொண்டிருந்த அவர் நின்றுவிட்டார். சிறிது யோசித்து (அவருடைய ஆங்கிலத்தில் அப்படியே எழுதுகிறேன்)

No it's not like that. சிறிய இடைவெளி. பின் தொடர்ந்தார்,

Anyone can write music for the same situation, and even I can also write!
கொஞ்சம் அழுத்தமாக...
But not this music!... Not this!!!
I have travelled all over the world, and I have studied, and conducted the great Master's compositions in various concerts. I could find through your music, that "you have not struggled for ideas... The Music is coming to you and it flows without effort." I am sure you are a "very special composer" in the Music world - that is all I can say - என்றார்.

IR adds these people know their music and do not appreciate a composer to satisfy him. If they don't like it, they would say it's ok... and then drag with words like but and so on. So he considers it special praise.

As they were recording Hey Ram in Budapest, he says Laszlo can imagine the overall music with every instrument sound in his head by reading the score on paper. IR writes a score where there is a lengthy pause on a single note for a sustained duration to create a certain impact in the viewer's mind. But for the musicians playing, they'd get bored. IR hence writes it as chords (musicians will play different notes but the overall sound of the music THEY ALL PLAY will sound like a single continuous note). Laszlo says, "It is a good style of writing." IR: "But I am not formally trained to write." Laszlo: "That is the real greatness." The musicians while playing looked at each other in amazement because they were able to realize immediately that though were playing different notes, the FINAL sound was one continuous note. IR then asks Monika her account. Monika says Laszlo did not let her sleep the night they met IR and was raving about IR all night and he has done that to anyone else.

IR then speaks about the BGM score of Lajja. He again goes to Budapest to record it with the symphony. In Chennai, same formality with Laszlo. Superlatives from Laszlo and at the title score, he feels it will be fun playing it with the orchestra. IR then writes another melody. Over to IR:
Laszlo: 'This is something wonderful! - more personal and emotional unfulfilled longing is there.'
அந்த melody-ஐ வாங்கி, முதலில் எழுதிய Title Musicஐ cancel செய்து விட்டு (90 பேருக்கு எழுதிய orchestra அது). மறுபடியும் புதிய melodyக்கு அரை மணி நேரத்தில் எழுதி கொடுத்துவிட்டேன். ஆச்சர்யப்பட்டு போனார்.

Fast forward to Budapest. Symphony orchestra plays the film's full score, are very appreciative and finally come to the title score. As they finish playing, they are amazed at the depth of the score for mere arial shots of New York night's skyline. The orchestra then applaud and present him with a book titled 'Opera' as a token of their appreciation. Raaja's words:

அவர்களுக்கு நன்றி சொல்லி நான் பேசும்பொழுது, நீங்கள் வாசித்த அத்தனை இசையும் பத்தே நாட்களில் எழுதப்பட்டது என்றேன். அனைவரும் 90 விதமான உணர்வுகளை வெளிப்படுத்தினார்கள். ஒரு பெண் தன் வயலினைக் கீழே விட்டுவிட்டாள். இன்னொரு Lady, Oh! My God... என்று கத்தினார். இன்னுமொருவர் This is not humanly possible என்று கைகளை ஆட்டினார். பலர் வாதியங்களாலே கை தட்டினார்கள்.
Laszlo: yes it's true! I was personally there. He is a very fast and qualified composer.
But I am an illiterate... உங்களைப்போல் நான் எந்த இசை பயிற்சியும் இல்லாதவன், ஒரு பட்டிக்காட்டான் என்றேன்.
இன்னும் ஆச்சர்யத்தின் உச்சிக்கே சென்றுவிட்டார்கள்.

Laszlo, privately later: Raaja, what we recorded in these 5 days. It is really Hollywood standard of Music. But it's too much for your Bollywood என்றார்.

இதைப்போல் தன்னைப் பற்றி தானே பீத்திக் கொள்வதைத் தடுப்பதற்காகத்தான் பத்திரிகைப் பேட்டி, TV interviewக்களை தவிர்த்து வந்தேன் (wrote this in 2001, hence very true for that time).

நமது பழந்தமிழ் நூல்களில் கூரப்பட்ட ஒருசெய்தி நினைவுக்கு வந்தது. இறைவன் தன்னைப் பற்றி தன் அடியார்களுக்கு அவனே தெரிவிக்கவில்லை என்றால் அடியார்களுக்கு அவனை பற்றி அறிய வாய்ப்பே இல்லாது போய்விடும்; அதனால் இறைவன் தன் அருமை பெருமைகளை தானே சொல்வதுப்போல், கல்வியில் புலமைமிக்கவர், கல்வி அறிவில்லாதவர்கள் மத்தியில், தங்கள் கல்வி புலமையை தாங்களே அறிவிப்பதில் தவறே இல்லை. அப்பிடி அறிவிக்காவிட்டால் ஒன்றும் அறியாதவர்களுக்கு கல்வியின் அருமைகள் எப்படித் தெரியும்? என்று குறிப்பிட்டு உ.வே.சா. ஐயர் எழுதியதை நான் படிக்க நேர்ந்ததால், நானும் என்னைப் பற்றி சொல்லிவிட்டால், உங்களுக்கும் உலகிற்கும் தெரியாது போய் விடுமே என்ற காரணத்தால் மேற்கண்ட செய்தி குப்பைகளை உங்கள் மேல் கொட்ட வேண்டியதாயிற்று.

பிழை இருப்பின் மன்னிக்க!
பிழை இருப்பின் என்ன?
பிழைதான்!

Great perspective. This puts a lot of his public interaction in perspective. Folks like JV must read this - he tried to create an unnecessary storm over Raja's interview before the London concert in FB.

Thanks a lot DM for your effort in putting it together. Reserved to read tonight

Thanks very much DM for posting about the excerpts from IR's book. Very intriguing read and helps us to understand various aspects of Maestro's music and personality. I will definitely try to get hold of the books. I agree that every fan should read this book.

Read it. Thanks again DM.

First question. How did Sridhar sir convince IR to do music for his films when Raja outright rejected his offer?
Loved all the anecdotes of Hey Ram music. We know that this is humanly impossible task of re-doing the whole film when another music director already did most of the work. After hearing from Laszlo, it not only increases our affection Maestro and music, it also raises a question if our country really knows how to appreciate true art and genius, when they flag their recognition for mediocrity (and much less) without fail.

V_S wrote:Read it. Thanks again DM.

First question. How did Sridhar sir convince IR to do music for his films when Raja outright rejected his offer?

I've heard from Santhanabharathi and P Vasu that it was they who convinced Sridhar to go to IR for Ilamai Oonjalaadugiradhu and Sridhar said as much to IR and also spoke of how he drove SB and PV out of his office when they suggested he work with IR (anyone other than MSV here). Sridhar then gave it thought and went to IR. IR would have factored this to do 2 films is my humble opinion. Soundaryame Varuga Varuga had Vijayabhaskar's music. Then he came to IR again for Ninaivellaam Nithya and then SPB for Thudikkum KarangaL (IR rejected again? I don't know). Then fully IR only in Tamil.

IR also mentions he let MSV know after rejecting Sridhar. So it is possible MSV possibly prevailed to convince IR that it is not a slight on him. But all that is speculation.

Thanks DM for the explanation. I too think MSV had a role there that he didn't have any issues. It would be interesting to know that part also how he got convinced from IR himself.

IR simply says "MSV anna 'appidiyA? appidiyA?' nu kettukittAr" when MSV came to IR's home for Navarathri soon after the incident. This after IR rejecting Sridhar for Soundaryame Varuga Varuga. Not sure if MSV had any role later in convincing IR for the later projects. I meant it is possible to assume MSV might have said it's ok to IR. But these will remain just that. Assumptions. Sorry ought to have been clearer earlier.

Uploaded a 50 minute video of SPB interviewing Ilayaraaja for DD, circa 1996



Must watch for every mafia! Pure Gold!

^nice dig pullarips when he talks about his RPO experience. must be in all mafia's bucketlist  
was that John Scott who was all praise for his bgm markings?

Wizzy wrote: was that John Scott who was all praise for his bgm markings?

Yeah

Terrific find, thanks. Great interview.

Watching that left me a bit sad. Wishing that these two could have just stayed in that 1995 mode frozen for ever. The casual camaraderie, IR's many innocent laughs/smiles.The casual exchange of anecdotes worth their weight in gold. Two special artistes who were still at the peak of their powers. I hope these links get archived somewhere and we don't lose them. The IR fan club has to do something about this.

There was another interview from 1991 in DD where they show IR conducting the strings section of andhiyile vaanam from Chinnavar. Is that available?

DM Can't thank you enough for bringing this together and sharing. A very rare and precious moment. I was really enjoying the innocent laughs and smiles of Maestro which is now long gone. I definitely think he must have been fed up of today's music scenario. Really loved the anecdotes what he said about Scott watching him composing the score live. When a person writes notes on the fly watching the film without any manipulation or correction synching perfectly with the film narration (when he himself says synching normally takes a month), what can we describe this person other than the genius? Genius unparalleled. There is no Big 3, only Big 1 always.

counterpoint wrote:There was another interview from 1991 in DD where they show IR conducting the strings section of andhiyile vaanam from Chinnavar. Is that available?

No I don't have that. I have another interview of IR's from Hey Ram times. Shall upload that this weekend. Some of it is from Sun TV, some from Jaya TV. Copyright claim nu avanga muttu katta pOdAma irukkaNum YT'la. That only biggest beedhi for me now. Even now for this, had to acknowledge some of the copyright holders because of the video songs footage in this interview. Nothing gone amiss till now.

And V_Sji, you're welcome. idhellAm perumaiyA? kadama. plum has asked for a transcript since YT is giving his laptop problems, shall post it here soon.

Thanks DM for uploading the interview. Thoroughly enjoyed it.

I was looking for the video where Raja speaks to Pudhu Maapillaiku and how the song was inspired by Naan Paarthathile and this is it!

I liked the bonus of his Lathangi play as well and how he did Yaar thoorigai...

We will never witness such great musicians and friendly interactions for the next few decades for sure. In today's competitive world, I am tempted to say perhaps a century!

Thank you so much DM.  Watching now and really enjoying it.

Thanks ravinat. Glad all of you are enjoying. Plum asked for a transcript since youtube is not working/crashing his laptop for him. It is impossible to transcribe the camaraderie, the crackling laughter, spontaneous eye glances communicating emotions to each other and above all, the terrific friendship. So sorry plum, you are losing a lot by not watching even if I'm transcribing the crux of the 50 mins  obviously not word by word. But an accurate transcript.

So it starts with other music composers/directors opining on IR.

MSV-TKR first. TKR says Poove Sempoove is a good song. MSV agrees. "oru new style adhula" says he.
SPB: Ilayaraaja was an ordinary musician. avaru enna maari oru raatshasa saadhana pannittu indha alavukku vandhurukkaarna, avurukku enna credit kedachaalum adhukku thagudhi irukku.
Deva: ungulukku Raaja saara evvalavu pudikkumo, adha vida kodi madangu enakku avara pidikkum saar.
Gangaiyaar: Ilayaraaja'ngara oru periya sothu en kitta irukkarappo naan isaiya thedi vera engayum poga vediya avasiyame illa.
SA Rajkumar: Isaiyil enakku oru periya inspiration'aa irundhavar, irundhu kondu iruppavar Isagnani Thiru Ilayaraja avargal.
Sirpi: Naan isai kalaignan aa aaganamnu school lerndhu aasa, oorulerndhu poraptu Madras vandhadhe Ilayaraaja saar songs'a kettu dhaan.
Vidyasagar: ovvoru paattulayum edhadhu pudhuma pannanumnu avurukku irukka koodiya oru... the attempts he makes, the way he fuses music...
Adithyan: ippo MSV saar kaalathula, Ilayaraja saar Western classical music, lot of string sections irukkum. adha namma folk'la... ippo "Megam Karukkaiyile" nu oru pAttu irukkum. adhula (goes on to sing the string sections/chorus)... andha 3/4ths, voice'la use panna bitsa, eppidi namma music'la blend pannirukaar'ndradhu nalla theriyum.

Cuts to what looks like IR's home with him playing the harmonium. SPB walks in with a bouquet.

IR: ennada somberi! yen ivvalavu neram?
SPB: Dei eppayum pola irundha parava illa, innikki Sunday kadaiyellaam leavu. indha bouquet vAngittu varadhukku time aaidchu.
I: edhukku enakku idhellAm?
S: nAn thaniya vandhA paravA illa. idhu enga show sArbula directors kudukkanamnu aasa pattAnga (Horlicks Sapthaswarangal in 1995). Prabhu, Gerrard, please come... (pleasantries over, it's proper interview now).
S: ippo, nee Isaignani, nan nyAyamA unna ennAnga, vAnga, pOngA nu dhAn koopadnam. nAnum oru senior singer'ndradhu nAla neeyum apdi koopadlAm. AnA adhu ennamo restricted'a irukkumnu nenaikkarEn (IR nods in agreement). adhunAla eppayum pOla vAdA pOdAne pEsuvOmA? unakkedhum objection illayE?
I: enakkenna objection?
S then asks about the many directors coming to IR and the juniors with seniors (like KB, BR, MR, etc) getting his music. "ovvortharkum oru taste irukkum. ivanga ellArayum accommodate seyyarappo what were the difficulties you faced or how comfortably you brought them to you?"
I: (Smiling), No no no. avanga oru edhipArpOda varAnga. oru pAtharatha koNdu vandhu adha nerappi thara solluvAnga... Then IR goes on to say what he said in Dhoni audio launch about giving it to the director before they ask and quoted the very same Naanoru Sindhu and KB kai nadungi poi sthambichu ninna anecdote here (mind you this was 1995). Cuts to Naanoru Sindhu video footage.
I: AnA music'ngradhu cheating dhAnE?
S: You mean film music?
I: illa motha music (S: Oh you mean total music?) I: AmA 7 notes pAdnA motha music'um mudunju pOchu. apparAm ellAm (circles his hands)... S: permutation combination...?
I: Goes on to the Aboorva Sagodharargal anecdote of how Kamal wasn't happy with the tune first saying it was a melody and he wanted a thuLLalAn pAttu and gave "Naan Paarthadhile" as an example with all due respect to IR's philosophy. IR then gives Pudhu Maapilaikki. The moments where he waits for SPB to sing but SPB goads him to sing followed by IR bursting out laughing shyly are to be seen. No use transcribing. Tubechop pOdrEn. See if it works: http://www.tubechop.com/watch/3631509
(Transcript: Sings Naan Paarthadhile's lyrics in Pudhu Maapilaikki's tune to say how this is inspired and music is all cheating. But unless he tells us, how would we know? )
Cuts to video footage of song.
S: innoru example?
I: innoru example naa... nAn Lathangi ragathula compose seyyanamnu nenaippEn. Sings ArOhaNam avarOhaNam. Says he won't show them the Shadjamam. Ematharadhu. Takes Gandharam. Says he'll assume it to be Sa and starts off with Yaar Thoorigai Thandha Oviyam and sings pallavi in thathakAram. The Yaar there as per the Swaras is Ga  Tubechop if you wish to see that: http://www.tubechop.com/watch/3631517
S: ippo nee sonnaye Kamal saar thuLLalAna tune kEttAr'nu. I understand nee thEvanA 1 illa 100 illa 150 tunes thara. But why un mela unnecessary complaintu? "ivar sonnadhu dhAn" tune nu? enakku theriyum uNma ennAnu solli. But yen indha parabarappu?
I: adhu oru sila edathula sollirukkalAm. illAma solla mAttAnga illiyA? sila edangaLLa solla vENdi irukkum. indha situation'ku indha tune dhaan saar correct'a irukkum'nu (pAtheengla kodumaya? Director vEla'yin nammAL director'ku senju adhukku ketta pEr vEra). AnA adhu ellArukkum sonnadhA eduthukka koodAdhu. onakku sonnadhu onakku. en son'ku sonnadhu en son'ku.
S: Raaja, nee narrrriyA (rrr not my emphasis. SPB's) singars'a nee encourage paNNirukka, narrriya writers'ku chance kuduthurukka. But tharchamayathula 99% songs Vaali saar dhAn ezhudharAr. Any particular reason?
I: silaridam irundhu nAn vilagi koLvadharkku kAraNam nAn vilagi irukka vENdum enbadhAl dhAn. ippozhudhu nAnE kooda pAdal ezhudha mudiyum. sila pAdalgaLai nAnE ezhudhi viduvEn. sila nEram neengaL ezhudhi kodungaL endru ennai kEtpArgaL, sila nErangaLil idhai nAmE ezhudhinAl nanrAga irukkum enRu enakku thONum. andha pAdalgaLai nAnE ezhudhi vidugirEn. AnA Vaali saar oda work panradhukku kAraNam ennoda wavelength'um avarOda wavelength'um match Agudhu. adhu kAraNam. nallA speed'a ezhudhi tharAr. Corrections kEttA senju tharAr. nallA iraNdu thalaimuraigaLukku ezhudhi koNdiruppavar, idhukk vEra kAraNam solla mudiyAdhu. AnA innum nerayA kavignargaLum ezhudhittirukkAnga.
S: From KB, goes to K Vishwanath (national award for Sagara Sangamam gets mentioned), Bharathi Raja and how every song was a hit with BR, Mani Rathnam, episode anga cut Agudhu... Next continuation'la he asks about why Ennapetha Raasaave and Avathaaram were composed after the film was shot (the songs also).
I: Songs compose pannittu shoot panradhu ellaa padangaLLayum panradhu dhaan. AnA indha reNdu padangaLum... EPR vandhu enakku nambikka illa. Rajkiran adhukku munnAdi naduchurundhAlum avar iyakkiya modha padam idhu dhAn. enakku nambikka illa avar nalla padam eduppAr nu. avanga en permission illAmayE en pEra pOttutu padatha AramichuttAnga. nAn pAkkalAm pAkkalAm nu solli, 6 mAsam thatti kazhuchEn. yennA nambikka illa. AnA 6 mAsathukkapparam ennada ippidi alaya vekkaramE nu kooptu "un padatha pOttu kAttuyA"... padam eduthu 6 mAsam Achu. padatha pAthA, ennaiyE nAn thittikittEn, ennadA ippidi muttALA irundhuttOmE nu. ivan ivvaLavu azhagA feelingsoda, timing kuduthu eduthurukkAn. enakku romba puduchu pOchu padam. "enna mannichuru yA, nAn madayanA irundhuttEn, nALaikkE composing vechukkalAm"nu solli compose senjadhu dhAn EPR.
Avatharam Nasser kadhaiya sonnappO "ennada therukoothA irukkE. koothu pAttu dhAnE"nu, adhAvadhu ErkanavE senja subjects dhAnE nu solli thayanginEn. But padam pAthuttu enakku romba puduchu pOchu. adhula vishayam irukkara mAri therinjudhu. enna impress senjadhAla nAn senjEn.
EPR songs athanayum nAn sonna placement dhAn. Avatharam Nasser'e situations'oda vandhAr. ellAmE picture'ku romba apt'a irundhudhu.
Cuts to Sandhirarum Sooriyarum from Avatharam.
S: nee firstu paadnadhu?
I (thinks, cute expression imo): Annakkili Background score'la pAdirupEn. S: first song? I: SOLam vedhaikkaiyilE, 16 Vayadhinile.
S: Asks about singing interest and reminisces about their young days together where they traveled on a cycle like a seeval vikkaravanga. IR laughs out loud (obviously taken back in memories; can't really transcribe. Must be watched). eppidi interest vandhudhu?
I: Talks about how brother Pavalar would beat with a perambu if he touched the harmonium as a kid because of fear if the harmonium would be harmed. But IR in his brother's absense would practice in the harmonium by himself. One day Pavalar and his troupe's harmonium player fight and break off. That evening kacheri. Mother suggests his name and says he's singing. Pavalar hears him play and says he's to perform. "enakku tharaila nikka mudila, AgAsathla parakka mudila." Says he played thappum thavarumA. But still audience applauded. Will copy paste jaiganesh's comment on FB under my share because it summarized what is to follow well:

Jaiganesh wrote:A little boy (boynnaave little dhaanada)giving a performance in southern rural India &getting applause to think at that age that the applause belong to the composers of the songs and to try to become a composer,that's the spirit only a true genius,chosen by music can possess. That is why Ilaiyaraaja or Raaja is the only contemporary composer I will respect. The rest can join me in getting awestruck at his presence.

I continuing: enakku Aramikkarappo notes'na ennane theriyAdhu. Dhanraj Master GKV anna'ku vAsippAr. avarOda nAn pOvEn. appovandhu Dhanraj Master "notes ezhudhu da" nu sonnAru, ezhudhunEn. enna solrAngannA avanga pAtta swara paduthi solrAnga, nAn adha ezhudhuvEn. Time signature pOdunnAr. apdinA thALam, thALa kurippu. appidinA enna saar'nu kEppEn. "time signature raa. 6/8 aa 2/4 aa?" 6/8 saar nu sonnEn. apparam "Bar mark paNNu da" Bar na enna saar? "enna tempo da?" 6/8 saar. "appo 6 notes in a bar." purunju pochu. oru vArthayA dhAn solluvAr AnA music uLLayE odittu irukkaradhAla purunjurum. apparam GKV anna enna oru mukkiyamAna edathula vechAru. avar oru nAL 10 songs compose pannArnA athana tune'um nyAbagam vechukkittu adutha nAL 1 to 10 order la pAduvEn. appavE nalla memory. avarukku romba puduchu pOchu enna. Orchestra'kellAm notes solla solluvAr. annikki night thappum thavarumA pOi swaratha ezhudhi adutha nAL sollum bOdhu vAi oLarum. Musicians ellAm sirippAnga. avamAnamA irukkum. appidiyE pazhakkam Achu, apparam swaram'naa oNNum illa nu purunjudhu.
S: Western notations ellAm ezhudharadhu Dhanraj Master'ta dhAnA?
I: AmA Dhanraj master dhAn.
S: enakku theriyum nalla, namma reNdu pErum en scooter'la pOvOm (IR bursts out laughing; must be seen) Luz corner'la ninnuttu MSV saar car 5052 eppo varudhu nu pAthuttu, Santhi Vihar'la sAptutu... adha mAri unna narayA influence panna music directors yAru?
I: Countless machaan (yes! he used machaan!). Naushad enna? Madan Mohan enna? Roshan enna? C Ramachandra enna? Khemchand Prakash enna? Hasanlal Bhagathram enna? yaar illa? ellArum irukkAnga (reverence in tone deserves to be seen/heard!)
S: South India'la?
I: sollAma irukka mudiyumA? SV lErndhu CR Subburaman, G Ramanathan, MS Viswanathan, KV Mahadevan... evvaLavu pEr irukkAnga... adhellAm sollalainA romba thappu...

idhOda pAdhi mudiyudhu. meedhi nALaikki.

(To be continued)...

DM appreciate your effort in transcribing this. Have been thinking about this interview, rather a conversation between friends. Couple of things struck me:

1. SPB's praise, nakkal, kindal all seem to be spontaneous and in flow. Of late when I have seen him talk about IR in pre-concert previews and such his praise seems to be a bit more rehearsed and also measured. Maybe age has mellowed him down a bit but couldnt help but think that the relationship has now become a bit more formal. The fun moment  for me was when SPB turns to the camera after praising IR and getting him embarassed and says "idhayum kaaminga. avar vekka padaradhayum ellarum paakka venaama" or something like that

2. IR's attachment/recall of certain anecdotes. That KB& IR independently thought of the same opening lines for naan oru sindhu kaavadi sindhu is an anecdote I only recently knew when IR spoke about it in a  function where KB was also present. That he has already  talked about it on TV almost 20 years back shows how much such incidents have affected him or inspired him. Also the consistency in the facts when he narrates such incidents. The details have not changed even after 20 years. It has made quite an impression on him.

Watching this I also wished that had internet and e-fanclubs and youtube existed back then then somebody like ilayathalam could have recorded many such anecdotes for us, when they were still fresh in IR's memory.

Part 2.

So SPB continues by asking IR who his favorite singers are. IR laughs at him and SPB catching the signal says he doesn't have to tell SPB's name.

I: nAn sonnAlum sollalainAlum, nee...
S: adhu namma reNdu pErum andha nelamaila illa (IR slaps SPB's hand LOLing)... Lataji onkitta nariyA pAttu pAdrukkAnga...
I: Lataji romba pidikkum. Ashaji'yum romba pidikkum. ovvotharum ovvoru ragam.
Video cuts to Shenbagame Shenbagame.
I: TMS sollalAm. aaN kural'nu sonnA avar otharukku thAn irukku.
S: appa nAngaLLAm pombaLa koralla... *mimicks a crude lady voice* female voice'la paadrOmA? (IR begins to LOL heartily). *turning to camera* summa joke, don't mistake me. anna'va romba madhikkarEn, vaNangarEn.
S: ippo Annakkili recording'ku nee AVM studio'la nozhanju ippo symphony varaikkum, London la oru periya Royal Philharmonic Orchestra (RPO) vechu periya studio'vula... I know it's very difficult. Explain pannanam'na pAdhi vAzhkkai'ya sollaNum.  But Annakkili'la nee work pannappo what was your feeling?
I: oru kozhandha porakkarappo, adhu ezhundhu nadandhadhuna petrOrgaLukku sandhOsham, adha kai thatti urchAga paduthuvAnga. adhuvE valandhu 40 vayasu AchunA adhu nadakkarappO yArum kai thatta mAttAnga. adhu iyalbAnadhu. Annakkili vandhappO nAn oru kozhandhaya irundhEn. idhu oru vaLarchi. isai'la evvaLavO paNNalAm. Cinema'la konjam dhAn paNNa mudiyum. idhu... andha nigazhchi, oru periya vishayam.
S: enguLukkelAm... enakku ummEla kObam. I: yEn? S: en Raaja anga RPO'voda record pantrukkAnE, adha ennAla pAkka mudilayE, adhukku sonnEn, record release function'ku nee enna koopadnam'nu (oru adhatra tone'la).
I: ethana music director'ku kedaikkum?
S: enna ethana music director'ku?
I: illa... ethana music director'ku RPO'oda symphony seyya mudiyumnen?
S: adhu dhAn nAnum solrEn!! yArukkum kedaikkAdha oru vishayam, en naNbanukku kedaichudhE, adha ennAla pAkka mudilayE... How was it?
I: Unbelievable. Score nAn 1 month'aa thayAr paNNitrindhEn. enna dhAn irundhAlum, paper'la ezhudharappO, compose seyyarappO 32 lines irukkum. anga 1st part ezhudhittu, adhukkenna 2nd part, adhukkenna 3rd part nu ezhudharadhu vEra. Mind'la varra sounds'a mental'a visualize paNNi "ippidi dhAn irukkum" nu oru anumAnathula dhAn ezhudha mudiyum. appO oru line dhAn attatayathula ezhudha mudiyum. ellA instrument'kum orE nErathula ezhudha mudiyAdhu. oru Sa... Sa Ga Ma, Dha Ni Sa'nu oru instrument'ku ezhudhinA... indha instrument'oda SaGaMaDhaNiSa'ku matha instruments enna vAsikkarAnga appO'nu ennAla ezhudha mudiyAdhu. Oru instrument'ku ezhudhittu... adha ezhudhi mudikkaradhukkuLLa matha instrument'ku vandha idea washout Ayidum. adutha instrument'ku enna accompaniment'ngradhu pOidum. romba kashtam adhu. adha eppdi epdiyO ezhudhi, enna sound vara poradhungradhE theriyAma, mental'aa namma kEttutu irundhAlum, adha instrument'la kEkkAma anga score'a mattum pOttutu, andha conductor vandhu unguLukkAga vAsikka pOrOm nu sollittu, avanga rehearsal'la vAsikkum bOdhu... adha vAsikkaradhukku munnAdi oru silence. andha silence.. adi vayitha kalakkiduchu. karuvE kalangina mAdhiri. appidi oru... kalangiduchu. apparam pAthA they started playing my symphony. "Oh! This is the symphony I wrote!! This is my sound! My composition!" apdinu solli, score vAngi correct'a irukkA'nu pAthA avanga full music vAsikkarAnga. nAn Edho I thought they are going to play a few bars. avanga full score'a vAsikkarAnga. ennAla edhuvum seyya mudila, score'la compare paNNi pAkkavE mudila. yEnnA andha sound'puduchu izhukkudhu. kanla thaNNi. pakathula Karthik azhugarAn, nAn azhugarEn, en asst Narasimhan azhugarAru (same VS Narasimhan). ennudaya music! kanlErndhu... azhuga illa adhu!
S: adhu explain paNNa mudiyAdhu. adhu oru bAvathukku appArpattadhu. nAn un moolamA visualize pantrukkEn. eppidi irundhurukkum'nutu... adhu onakku eppdi irundhurukkum'nu. And we are very proud of that!
Video cuts to Raakkamma Kaiyya Thattu
S: ippo Scott conduct senjavaru, inga vandhurundhAr unna pAthuttu pEsa. avar un re-recording'a pAthuttu asandhuttAr'nu kELvi pattEn. What was that experience?
I: avarum film'ku music paNNirukkAru. "Diana Rose", "Westside Story" andha mAdhiri films'kellam... Diana Rose... S: Musical AchE adhu... I: avar arranger, composer. avar vandhu ennOda work panrappO nAn oru background work pOitrundhudhu. avar oNNumE pEsala. oru moolaila okkAndhu enna mattumE pAthutrundhAru. unakku dhAn theriyumE, nAn film'a pAthuttu score ezhudha AramichuduvEn. Score ellAm ezhudhi rehearsal senjAchu, avar ennayE pAthutrukkAru. oru vArtha pEsala. Rehearsal ellAm mudunju picture oda vAsikkarAnga, avarukku Acharyam. "How this syncs!" appidinu solli. avangaLukku score'a picture'oda sync paNNa 1 month Agum! avar inga ellAm appidiyE nadakkaradha pAthuttu orE Acharyam. Recording room'la final take pOrappO avar gudhikkarAru! "Oh this is amazing! ellAm eppidi sync'la vandhu vuzhudhu!" nu solli, "bar ellAm calculate paNNAma eppidi paNreenga? nAn vandhu enakku adhu varum, the moment I stopped writing, the picture'la sequence would end nu sonnEn.
S: nee pAkkum bOdhu neeye spotting pantrukura, neeyE music'um compose'um seyyara, you're giving the notations...
I: adhu oNNum illa (waving his hand like it's no big deal). avar vandhu idha anga oru music magazine'la vEra ezhudhinAru. nAn sameebathula pAtha composers'la he writes scores on the fly without counting bars and it syncs perfectly. Very fast and excellent composing nu solli... ezhudhirundhAr.
Cuts to Nayagan scene for a few seconds.
S: sameebathula nee Kalapani'ku BGM 20 days compose senja. nAn padatha pAthappO it was incredible. padam blank'a irukkarapa kooda andha silence itself will elevate it. andha padam, with your music it has taken a different dimension. athana nALre-recording paNNaNam'nu nee padam pAkkum bOdhe mudivu paNtayA eppidi?
I: Actual'aa... AmA. padam pAkkum bOdhE idhukku oru different BG score irundhA nallA irukkum'nu... S: You were impressed with it. I: AmA. padam pAthuttu... namakkirukkara feelings dhAnE reflect Agudhu music'la. ithana nAL re-recording seyyaNam na producer'ta discuss paNNaNum. sila pEr "illa saar. Budget'la paNNaNum. Orchestra'ku kAsu kuduthu kattupadi AgAdhu..." ndradhunAla producer'ta discuss paNNala ithana nAL Agum'nu. thaniyA composing'ku mattum 5 nAL eduthukkutEn. indha padathula.. nAn sAdhArnamA fast'a ezhudha koodiyavan dhAn. indha padathulayum appidi dhAn ezhudhinEn. AnA separate parts'ku ezhudhina score'a copy paNNa romba time Achu. adhu dhAn 5 days Achu. illainA eppavum pOla oru film'ku 3 days'la mudikkara mAri muduchurukkalAm. adhukku oru orchestra'va pOttu, players'a select paNNi, best players'a kooptu, enakku romba thripthi'aana oru work. S: All were from Chennai? or Bombay...?
I: AmA ellA orchestra players'um ingErndhu dhAn. Best players available here. nallA vandhudhu. indha padam enaku oru thripthikAga dhAn orchestra'va vechu senjEn. 700 padam paNNittu enakku sollikara mAri oru mark vENum BG score'la nu solli dhAn idhu... idhu en imagination uraindhirukka koodiya ideas enakku mattumE theriyum. adha oru orchestra koNdu nAn senjA dhAn unguLukku puriyum. Oho, neenga Kalapani'la ippidi ellAm senjurukkeenga nu, symphony paNNeenga'nu neenga kEkkareenga.
Cuts to Kalapani scene with BGM.
S: nAn kElvi pattEn. IndhiyavulayE maximum time eduthu re-recording senja padam Mughal-E-Azam, Naushad saab paNNadhu. adhukkapparam adhiga time eduthu paNnadhu indha padam dhAn nu solli...
I: illa, appidi solla mudiyAdhu. yEnnA, Bombay'la ellAm endha padathukkum 16 days easy'aa re-recording'ku eduthuppAnga.
S: nAn mathavanga pathi pEsavE illa. Naushad saab pathi dhAn solrEn.
I: illala! nAn solrEn. avangallAm normal commercial picture'ke 16 days edukkum. adhu indha mAdhiri scoring panradhA irundhA... S: adhAn! indha mAri scoring... avanga paNradhA irundhA, it will take them at least 2-3 months?
I: adha nAn solla mudiyAdhu.
S: Hahaha. nAn kEkkalAm illayA?
I: Nee kEkkalAm AnA nAn solla mudiyAdhu (starts laughing himself).
S: Anyway adhuvum enguLukku peruma pada koodiya vishayam. ennA koodiya seekram neeyum idha oru CD'la release seyyaNum'tu Asa. Full BG score'aye. Padathula sila scenes'a music kammi paNNiduvAnga volume'a, dialogs'kAga effect'kAga. So you must release the score with the producers.
I: KandippA seyyalAm.
S: Raaja, ippo KArthik, Yuvan, Bhavatharini ellArum music'kulla enter AgitrukkAnga. Karthik compose seyyarAr. Yuvan has also started. Bhava is singing. So indha vazhi nee avangaLukku thErndheduthadhA illa avangaLA, un rathama adhunAla vandhAngalA?
I: ippo reNdAvadhu sonniyE adhAn. avargaLai nAn kattAya paduthavE illa. En vazhi avargaLai nEr vazhi paduthuvadhu. S: Discipline. I: nAn vandhu avangaLa veLIla kootitu pOravan illa. Beach'ko engayum... AnAlum avangaLukku daddy'a disturb seyyarOm'nu therinjudhu'na kitta varavE mAttAnga. avargaL pAdhai avargaLA thErndheduthukkoNdadhu. adharkkum nAn thadai sollavillai.
S: Excellent. Karthik pathi...
I: Karthik.... (is lost for words) adhu enna solradhu... avana mAri oru payyan porakkaradhu romba kashtam. S: romba nalla payyan'nu... I can see tears in your eyes (IR laughs). You are proud of him. Yuvan? I: Yuvan edhuvum padikka mAttAn. AnA correct'a adippAn. Karthik ellAthayum thorough aa paduchuttu dhAn eranguvAn. Yuvan appidi illa. enakku theriyAdhu'nu sollittu adippAn. adhu correct'aa irukkum (laughs). S: Bhava pAditrukkA... I: AmA nalla practice seyyaNum'nu sollirukkEn (tone suddenly turns reverential) Dakshinamurthy Swami'ta kathukkara.
Video cuts to Masthana*Masthana.
S: pAttukku vArtha dhAn mukkiyamA? illa isai dhAn mukkiyamA? sila pEru isai illAma vArtha illai'nu solvAnga, vArtha illAma isai illa'mbAnga. unnOda view enna?
I: indha kELviyE... reNdayum ozhungA purunjukkAdhavangaLudaya mana kONathulErndhu varradhu dhAn. nAn idhE kELviya Kannadasan aNNA'ta kEttEn. "annen, ilakkiya vAdhigaL cinema pAdalAsiriyargaLa othukkoLvadhillaiyE annen"'nu... avaru sonnAru "appidi illa thambi. ilakkiya vAdhigaL'ku engaLukku ilakkiyam theriyAdhu, nAnga thadaigaLukkuLLa kattupattu vara mAttOm'nu nenachukkarAnga. uNma adhu illa. sandham illAmal vArthai illa. vArthai illAma tune illa. Sandham illAma tune illa. Tune illAma vArthai illa. nee endha vArthai eduthukka. adhu tune'kuLLa dhAn irukku." ippo... avuru solrAru. Kavignar sonnadha nAn solrEn. "Naan vandhu Maan dhaane naan dhaane nee dhaane thEn dhaane nu ezhudhinA unakku sandham pirikka theriyum. enga piri?" thandhAnE thAndhAnE thAndhAnE thAndhAnE. "ippo nee  thandhAnE thAndhAnE thAndhAnE thAndhAnE nu tune pOttA nAn Naan vandhu Maan dhaane naan dhaane nee dhaane thEn dhaane nu dhAnE ezhudhaNum. appO vArthai'ngaradhu sandhathukkuLLa dhAnE irukku..." appidi nu sonnAru. adhunAla indha kELvi'ye romba muttAL thanamAnadhu. vArthaiyE podhum nA "pOnAl pOgattum pOda"ngradha dialog'aa pEsittu pOidalAm. (voice acts modulations of that line to say how ineffective it is when just said however with emotion and then sings to say it is good only with music which transports the emotion). evanAvadhu en kavidhaigaLukku dhAn nee tune pOdaNam'nu solrAnnA adhu avan iyalAmaiya thAn kAttudhu. ippo nee tailor'ta pOra. avan nAn thechadha dhAn pOttukkaNum'nu sonnA adhu avan iyalAmai'ya dhAn kAttudhu. un size'ku enna shirt'o adha thechu kudukka vENdi dhAnE? (points at SPB and laughs).
S: ennA da sirippu? ennA sirippu? (IR starts LOLing uproariously). enakkum thaikkaradhukku oru tailor irukkAnda. enna, en kerchief'a nee sattaiyA pOttuppa (Both LOL).
Video cuts to Enkitta MOdAdhE.
S: ippo MSV anna, Ramamurthy anna time'la nee vandhu establish Agi nalla vandha. ippo unnOda nerayA pEr vandhuttAnga. Deva, Rahman, Vidyasagar'nu. avanga music ellAm kEtnu iruppayA?
I: AmA kEttu dhAnE AgaNum,
S: kEttu dhAnE AgaNum'na?
I: illa, kEkkAma eppidi irukka mudiyum'ngren?
S: ok, what do you think of theirmusic?
I: ellArum nallA pannitrukkAnga. men mElum vaLara vAzhthukkaL. mElum pala sAdhanaigaLai puriya vAzhthukkaL.
S: That's excellent. apparam, nee pAdna edhAdhu pAtta pAdEnda, neeye vaaschu pAdnainA...
(The following portions cannot be transcribed as they take the interview to its conclusion and SPB is obviously unscripted and avarukkE suleerngudhu IR pAdi kEtka, he requests an encore and goes bonkers praising IR. Needs to be seen. Hence tubechopping. I can't do it the justice with words).

http://www.tubechop.com/watch/3636684

Video cuts to Ejamaan kaaladi maNNeduthu, followed by pleasantries and IR asking SPB to sing a Kannada song of his and plays the notes on his harmonium reeds and the video ends.

End.

Munk

Songs compose pannittu shoot panradhu ellaa padangaLLayum panradhu dhaan. AnA indha reNdu padangaLum... EPR vandhu enakku nambikka illa. Rajkiran adhukku munnAdi naduchurundhAlum avar iyakkiya modha padam idhu dhAn. enakku nambikka illa avar nalla padam eduppAr nu. avanga en permission illAmayE en pEra pOttutu padatha AramichuttAnga. nAn pAkkalAm pAkkalAm nu solli, 6 mAsam thatti kazhuchEn. yennA nambikka illa. AnA 6 mAsathukkapparam ennada ippidi alaya vekkaramE nu kooptu "un padatha pOttu kAttuyA"... padam eduthu 6 mAsam Achu. padatha pAthA, ennaiyE nAn thittikittEn, ennadA ippidi muttALA irundhuttOmE nu. ivan ivvaLavu azhagA feelingsoda, timing kuduthu eduthurukkAn. enakku romba puduchu pOchu padam. "enna mannichuru yA, nAn madayanA irundhuttEn, nALaikkE composing vechukkalAm"nu solli compose senjadhu dhAn EPR.

a good shoutout for Rajkiran, cant remember any other actor/producer being so Raajacentric in their titles/characters.

One for this weekend. Uploaded a 45 minute video of mostly IR speaking with Santhanabharathi on Hey Ram around 2000. Must watch again. All mafias duly take note:

DM, Awesome. One of the best. Those BGM recording bits are superb and sound symphonic as it gets. Pity he didn't release it as a CD.  at Santhana Bharathi's casually, charmingly, innocently ignorant "Symphony orchestra na enna irunooru, munnooru pEru iruppAngla?"

Interesting to note that the Hungarians don't even use the standard, nearly universally adopted Italian WCM technical terms like andante, but prefer to use their own Hungarian equivalents. Note that Hungarian is one of the few major non-Indo-European languages of Europe and, from what little I have heard, also have a culture that is related, yet distinct from that of neighbouring countries. So maybe they have a language/cultural pride thing going on there too. His aacharyam about their communicating, writing in pure Hungarian and Tamils' inability to do so is well noted. As also his  aathangam about lack of institutions to preserve, promote and propagate TN arts. One can see he feels quite passionately about this which is possibly also one of the reasons he has not fallen trap to trends and always stuck to his guns.

One needs to appreciate the difficulty of coming up with an entirely original tune for pre-written lyrics, not only already set to another tune, but also picturised and lip-synced for it. That's a lot of information overload. To blank all that from your mind and overwrite it with a masterpiece like "Nee pArtha pArvai" is a unique cerebral achievement.

"Every note is mine" andha "garvam" thAn kalaignana kuRikkum.

P.S: Any idea who the Veenai artist in the reception was? And what was the composition that he was playing? It sounds somewhat familiar, but I am not able to identify it.

mung, awesome. indha Hey Ram score ellAm oru sequencela pOttu WCM CD-niu solli vithuralAmE..

Huge thanks DM for the Hey Raam interviews. I remember watching parts of it but not the Sun TV portions. It's probably one of a kind achievement to score for songs that have already been tuned & picturized.