Has Anirudh Ravichander hiked his fees and demanded a staggering amount for future Telugu projects? Here is what we know
Anirudh Ravichander
has become one of the most sought-after composers, celebrated for his foot-tapping numbers and emotionally charged scores. With his increasing popularity, the music sensation is also reportedly upping his game in terms of remuneration.
As reported by Telugu Cinema, Anirudh has reportedly raised his fee for Telugu films, especially with everything lined up in the next few months.
The composer is now selective with Telugu films
Rumour has it that he is charging around Rs 12 crore for 'The Paradise', where he will work with Nani, starring in the film directed by Srikanth Odela. Moreover, according to the report, Anirudh has plans to demand Rs 15 crore moving forward for any Telugu films he signs, ranking him amongst the highest-paid composers in Indian cinema at this time.
It said that the musician plans to now limit himself to select gigs in Telugu films, which are powerful gigs that are worthy of his new brand and the audience he now has.
It is imperative to mention that no official confirmation has been made from Anirudh's camp regarding the hike.
Anirudh's upcoming projects
When it comes to work, Anirudh is still on a dream run. His latest track, 'Chikitu' and 'Monica' from
Rajinikanth
's 'Coolie' became an instant viral track that fans are now looking forward to the full soundtrack. Anirudh is also preparing to work on 'Jana Nayagan', Thalapathy
Vijay
's last film before his future political career. Given their previous musical collaborations including 'Kaththi', 'Master', 'Beast,' and 'Leo', the expectations for the album are sky high.
Aside from 'The Paradise' and 'Coolie', Anirudh is composing for 'Kingdom' starring
Vijay Deverakonda
, 'Madharasi' with Sivakarthikeyan, 'Jailer 2' featuring Rajinikanth.
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Indian Express
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I had lost my admission to a medical college because, during that time, I was campaigning for the Congress party. My maternal uncle V N Gadgil was given a Lok Sabha ticket for Pune and was defeated by Samajwadi leader S M Joshi by just 12,000 votes. I didn't realise while campaigning that the examination was just around the corner. I was left out to do a BSc and all my friends went and joined IIT and various medical colleges. During that time, in any middle-class Brahmin family, if you missed admission to either an engineering or a medical college, it was a crime. I was very dejected. At this time, Bhalchandra Vaman Kelkar somehow spotted me and asked me to play a role in a play he was staging. This was 1967. I did the main role and found that theatre worked like therapy for me. I gradually started realising myself from within through theatre. Anuradha Mascarenhas: Which was the very first play you saw and the first one you wrote? Satish Alekar: The very first play I saw was when we were in the eighth standard. Due to the Panshet dam disaster, the school had organised a professional theatre festival to support the flood-affected people. I saw the best commercial theatre that was happening over 10 consecutive days from the wings. As asked by my teacher, I used to offer tea or coffee to the artists who were coming by buses to Ramanbaug, which used to have a very big ground during that time. I watched all the plays from the wings and not from audience. So I got a sense that theatre is made up, not real. This element was reflected later in my playwriting. All my short plays were written while I was in Fergusson College and they were published in the very prestigious magazine Satya Katha. I was very young during that time. That's why many of my plays have completed 50 years while I am alive. Manoj More: What was your experience of the Emergency, which was also 50 years ago? 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We established our own group, Theatre Academy, and, after a gap of one year, we resumed the play and no one contested it. For Ghashiram Kotwal, we received an invitation from the Berlin International Film Festival in 1980 and a second controversy started [over claims'] that 'You are doing theatre here which is alright, but you don't wash this linen outside the country. It is a bad history of your projecting, your play is a character assassination of a great historian Nana Fadnavis.' Vijay Tendulkar, the playwright, and a few others went to court. The compromise the court gave us was that, before every performance outside India, we were to read out the court order publicly that this was not a reflection of real history. This was an artist's point of view. People used to laugh at that. We had to get the court order translated into Dutch because we are performing in Amsterdam. We had to translate it into German because we are performing in Germany. We had to translate it in French. 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It would become a very volatile situation and they would get arrested. The solution was to have 100 Satyanarayan Mahapujas at the homes of the supporters and distribute the prasad. In Shaniwar Peth, Deccan Gymkhana and other localities of the city, Satyanarayan pujas were conducted in homes. Who will object? If you asked them, 'Are you honouring Gopal Godse?', the answer would be no. A hundred households conducted private pujas. The supporters had planned to bring the prasad to Udyan Mangal Karyalaya in Sadashiv Peth for distribution, an event that would be attended by Godse himself. That story leaked in Kesari the next day. That's how the people came to know that such a thing happened. So, religious divisions have been an entrenched part of Indian society. Today, fundamentalism has come to the forefront as it has received some kind of confidence. I think that the BJP's own reinterpretation of their own party is responsible for these kinds of social divisions. 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