In an exclusive throwback podcast with Lehren, Music Director Shantanu Moitra opens up on his early life, education & decision of becoming a full time musician. The Music Composer talks about his close bond with colleagues like Pradip Sarkar, Jaideep Sahni, Dibakar Banerjee, Swanand Kirkire & shares how he went on doing a super-hit album 'Ab Ke Sawan' post creating numerous jingles for popular advertisements. Moitra elaborates upon his big bollywood break as a music director in Sudhir Mishra's Hazaaron Khwaishein Aisi (2003) film & also shares how he interestingly composed songs for Vidhu Vinod Chopra's cult-classic Parineeta (2005) movie. The Bengali Babu gets candid in a never before seen way in turn speaking about his experience of living in Benares, delivering tracks for Laaga Chunari Mein Daag (2007) movie, music, tunes & much more... Watch this full flashback chit-chat session only on Lehren. #shantanumoitra#shantanumoitrasongs #parineeta #hazaaronkhwaisheinaisi #abkesawan #vidhuvinodchopra #sudhirmishra #swanandkirkire #pk #3idiots #musicdirector
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00:00I think in that moment I was sure I can take music as a profession, but not like this, not in a, I didn't think that it will be in a holding, I thought that I will do a jingle and I was happy doing that.
00:10So Swannan Kirkhara heard of Kisavan, along with Sridhar Mishra and he said that this is something which will suit our film.
00:16So he was instrumental in hunting me down from Delhi.
00:19This whole thing which is a choosing of the project, comes from the script. I like the script or not, but once I have chosen the script, then Shantanu Mahitra doesn't become important.
00:27What is the demand of the song or the music is important.
00:31When did you realize to take music as your profession, as your career?
00:36After economics, I used to work in an advertising agency.
00:42It's called Contract Advertising.
00:44The creative director of Pradeep Sarkar was the creative director of Pradeep Sarkar.
00:48There were people in our batches of other people.
00:51There was Jayarip Sarkar in the cooperating, who had checked out the company,
00:57Bunty Publi, and their assistants were Dibakar Bainarajji, who had directed us to direct us.
01:06So this was a team of people, and I was in the client servicing.
01:10At lunch time, I was sitting there, and I used to feel very jealous, that these people are creative.
01:18And I was also a little critic, because I studied some other things, I did economics, and there was a middle class Bengali,
01:27that you don't take art as a profession, you take something else as a profession.
01:32So that's why there was a discussion, and there was a moment when I started a little music in-house.
01:41My first ad was Boli Merylips, I love Uncle Chips, and that was a hit.
01:47After doing it, everyone told me why didn't I take this up as a profession.
01:51Secondly, jingles used to earn more money than Indian classical music.
01:55So clearly, it was a huge avenue for Rosy Rootie, so I started to sing a little jingles,
02:05and I realized that I can sustain myself doing just jingles.
02:09Then I left my job, and I had to do jingles.
02:11So I think at that moment, I realized that maybe I can take music as a profession, but not like this.
02:17It's not in a... I didn't think that it won't be in holding.
02:21I thought that I would do jingles, and I was happy doing that.
02:24So how do you feel about jingles and how do you feel about jingles?
02:27I'll do jingles, and I'll do an album.
02:31At that time, Punjabi songs were playing a lot.
02:35Dere Mindi was ruling, Jesse was ruling.
02:38I had a feeling I need to do something else, and this was the birth of your son.
02:42I had a great project with Shubha Madhul Ji, and she was so sweet.
02:49I was a complete nobody.
02:52But still, she spent a lot of time, and Uke Saaban was received very well.
02:56At that time, I was in Delhi.
02:58Lazy Bengali didn't want to go to Bombay.
03:00Sudhir Mishra heard Uke Saaban.
03:02He wanted a new music director for 1000okhoen Shaihsi.
03:05He heard Uke Saaban, he was convinced this is the person who should film me.
03:10So he contacted me and
03:13Thousand Khoyashi was the first project by which
03:15I moved from Delhi to Bombay.
03:17But you didn't study Limelight
03:20How did Parinita happen to you?
03:23In Thousand Khoyashi I had a song called Bavraman
03:26Bavraman was very good for Pradeep.
03:28I have told Pradeep about contract advertising.
03:31My first album, which I was with you,
03:33I didn't have a music video.
03:35Plus, I had an agency
03:37I think we had more ads in 1200
03:41So it was a good thing.
03:43But he was very very impressed with Bavraman
03:45And he wanted Vesex sound for Parinita.
03:48We had a song that later we included in the album
03:51His name was Rath Humari, Tovchandh Ki Sahelie.
03:54Then he took me with Vidubun Ochopla
03:56And he liked the song
03:58And that is how Parinita happened.
04:00Two things happened basically.
04:02My association with him, more importantly, Bavraman.
04:05How did your association work up with Swanand Kirkere?
04:08Swanand Kirkere was
04:11Ittiva ki baath hai ki jab
04:14Sudhir Mishra dhun rahe the
04:16Ek music director
04:17Unki associate director thai Swanand Kirkere
04:19For a thousand a kwaashi asi.
04:21So Swanand Kirkere heard Apke Saban
04:23Along with Sudhir Mishra
04:26And he said ki this is something which will suit our film.
04:29So he was instrumental in hunting me down from Delhi.
04:32He was a big fan of my music.
04:34Thanks to Apke Saban anyway.
04:36Toh unse mula kaat mije as an associate director hua.
04:38Who was assisting Sudhir Mishra.
04:43Kaam karte karte.
04:45Ek din Sudhir Mishra ne bata hai ki
04:46Inke wase gana hai Bavraman likha hai to aap
04:49If you like the words then you will use some singer to dub it.
04:54So I said oki ase Swanand ko ki ap
04:57Bata ke kya lyrics hai.
04:58Toh he said
04:59Main usually jab bikta hon
05:00I just
05:01I like to sing it along.
05:02Toh
05:03Main
05:04Asi present kerta hon
05:05Toh jab bata ya toh
05:06Minho ko itna ak yad hai ki
05:07I have found his voice so mesmerizing.
05:09Ki wana shab bhi shayad tiktit suna nii ho gae.
05:13Toh
05:15Main unko
05:16Studeo le gaya.
05:17Toh bhot nervos kisam ki insan thay.
05:19Abhi bhi hai ase.
05:20Toh unko bata hai nahi ki
05:21I unko dub karne baala ho.
05:22I unko le gaya ho.
05:23I unko bata ki
05:24Yer dubbing roome baat ki
05:25Yap zara mike me.
05:26Bata yye.
05:27Or woh joh Bavraman hai
05:28Woh baasye karke rekord kiya.
05:30Unko bata hai nahi ki
05:32Rekordding ho raha hai.
05:33But
05:34Itna magical voice tha woh.
05:36Or
05:37I just fell in love with that voice.
05:39And woh
05:40Association tapsu shir ho hai.
05:41Brilliant writer.
05:42Brilliant singer.
05:43Now a screenplay dialogue writer.
05:46Toh bhagawan ne do haatsa shirvat kiya this ko.
05:49And
05:50I always have a
05:51Ek desire hata ki
05:52Nya talent
05:53Tohundu ya laen talent se
05:55Kaam karu.
05:56And
05:57Swannand was a very pleasant discovery
05:58Just because I'm open to that idea.
06:01Toh apko
06:02Personneli kis tarikaka music
06:03Kampoos karna ya sunna
06:05Duhun alag-alag tarikase
06:06Jyadah pasan hata.
06:07Dekhi.
06:08Kya hai ki
06:09Main jab kompoos karta hong
06:10Toh mere bas ab kisawan hai
06:11Man ke manjeere hai.
06:13Problem kya ho ta hai ki
06:14Hhm loog usually
06:15Humara desh eek yunik desh hai.
06:16Jaha peh sinema ka woh hi
06:18Gaana ho ta hai.
06:19Baagi nahi ho ta.
06:20Sinema ka kya ho ta hai ki
06:22Main jab sinema ke lihe kompoos karta hong
06:23I keep myself in the
06:26Back door.
06:27Kirdaar kya hai?
06:28Characters kya hai?
06:29Story kya hai?
06:30Location kya hai?
06:31Kya hai?
06:32Tithi kya hai?
06:33Kab kab ho raha hai?
06:34Yeh sab important factors ban jate hai
06:38Dhun dene ke lihe.
06:39Toh vaha peh may kya chaatha ho ho
06:41Vaha peh uska eek chota sa role hai.
06:43Vaha seh sinema ka demannd kya hai woh kya hai?
06:45Haan.
06:46Is poora cheez ka joh eek
06:49Choosing ho ta hai project
06:50Uska hata script se.
06:51Mujhe script pasand hai ki nahi.
06:53But once I have chosen the script
06:54Tav shantun mohi tira doesn't become important.
06:56What is the demand of the song
06:58Or the music is important.
06:59But when I am shantun mohi tira important
07:01When I am doing the album
07:03Tav uska ruchy hai
07:05Aapke saawan
07:06Uska ruchy hai man ke manjir hai.
07:07Toh yeh dhun ho different schools hote hai.
07:09Choongki apne apne early days
07:11Varanasi mein bhitha hai.
07:12And Varanasi is like a cultural capital
07:14Aapke saakta ho India.
07:15Bilkul.
07:16Toh usne apke kitna efet ki
07:18Aur unke uski yadho ke varan
07:19Merti ki agar aap
07:20Agar aap abhi ka agar aap
07:22Lagachunara me daag liege hai
07:23Toh pehla jokana hai
07:24Hum toh aise bhaiya
07:25Woh bilkul eek mere bachparan ka
07:27Down the memory lane hai.
07:28Ohi awas hai.
07:29Ohi ghantiya.
07:30Ohi mantr.
07:31Ohi gali mein gai.
07:32Ohi energy.
07:33Ohi innocence.
07:34Ohi dichotomy about religion.
07:37Ohi passion.
07:38Oldest cities in the world.
07:40So this is something I can
07:41I can
07:42Mein sung sangta hon bana ras ko.
07:43And I've tried to give that
07:45When I compose lagachunara me daag.
07:47Kisi bhi
07:49Upbringing mein
07:50Kisi bhi
07:51Jaga peh jhaan peh character hai
07:53Woh if it's part of your upbringing
07:56Automatically woh apke
07:57Personality meh effect karta hai.
07:59Jis jaga peh koji character nahi hai
08:01Jaha peh you pale bade hotte hoon
08:03Toh apka neutral character nukalta hai
08:05Woh distinct sound.
08:07Distinct taste.
08:08Distinct flavor.
08:09Poshak.
08:10Bahat kerne ke tariqa.
08:13Lehaza.
08:14Language.
08:15Yeh sab important parts hai
08:18Aapke upbringing mein.
08:19And this is why
08:21Aahem bhoomi ka hai
08:22Mere as a composer
08:23Banne meh.
08:24Yeh joh lakhnao bana ras meh
08:25Joh merah
08:26Bacchpan joh peh ta
08:27Woh my it's ka bhot important zeta hoon.
08:29Toh job apne peh kiya ta ki
08:31Aapke musical as a career lehen
08:33As a professional lehen
08:34Toh family se chunki musical tha
08:36Toh woha se support kitna mih?
08:38Kyunki musical ta hai
08:39As lihe family bhot aginz meh thay
08:40Kyunki hunnhe bhot hi
08:42Bure vakt dhekhe thay
08:43Especially because
08:44Pita ji Indian classical meh thay
08:45Ham loog usually kya hai ki
08:47Job hum
08:48Bade bade nama dheghtay hai
08:49Toh
08:50Hazara meh se
08:51Woh joh kuch successful loog ota hai
08:53Unke baare meh jantay hai
08:54Joh nahi hoote hai
08:55Unke baare meh nahhi pata
08:56Unka joh
08:57Bohut hi
08:58Tragic life chaata hai
09:00Eek aasa
09:01Music ke pichhe
09:03Jaha peh actually recognition is not so much
09:05Especially tab to bilkul bhi nahi tha
09:07Aag se mein 40-50 saal pe raki baat karna ho
09:09Toh isili hai
09:10I was the
09:11I am being the only son in the family
09:12Unho na bhot
09:14Soch samaj ke
09:15Tare ki aata ki
09:16This is not what I want to do
09:17They
09:18Pada likhaya
09:19They wanted me to work like any other person
09:20City bank or something
09:22Abas
09:23Hattifa ki baat hai
09:24Wabes ben music mein aagaya ho
09:25But I think
09:26Money is lot better now
09:27They are very happy with the decision
09:29And
09:30Opposition was there but later on
09:34I could see
09:35Jab
09:36Specially jab Pranita hua tha
09:37I could see
09:38My father was very very proud
09:40Once Breakthrough approached you for a music album on women's dreams
09:43And you
09:44When you like
09:45Saw the women's condition male dominator world
09:48You
09:49Aap kuch hich ke chaya hai
09:50Kya hai ki
09:52Kya hai ki
09:53Jab koi
09:54My project ka naam tha
09:55Man ke Manjeer
09:56Jab Manke Manjeer
09:57Aproach kiya gaya
09:58Mujhe
09:59Mallika na
10:00Nya approach kiya tha
10:01Mujhe
10:02Toh
10:03Project ka ye naam tha ki
10:04Man ke Manjeer
10:05A women's dream and
10:07Ambition
10:08So what is women's dream and ambition? I don't have any idea.
10:12Generally, I'm very angry with NGO types.
10:16Fortunately, I had the freedom to go to various parts and record women who sing.
10:26When I was taking a journey, I realized what are their problems.
10:32For example, there is a place where Rukma by Rajasthan, Manganiya tribe singer,
10:40a polio victim.
10:42She had a place in her personal home that she had to leave the tribe.
10:50She couldn't sing outside the tribe.
10:52And she couldn't sing anything else.
10:55So this is the dream of that woman.
10:58That she will sing.
10:59And the ambition is that she will sing.
11:02But because the community doesn't allow it,
11:04that she is singing.
11:06I think that in today's moment,
11:08there is a dichotomy where she is singing.
11:12Because she is a woman.
11:14I never understood this story in the city.
11:16Thanks to this project when I went outside,
11:18I realized what it is.
11:20And this is what I have given you a big picture.
11:22And in the small picture,
11:25I have asked some of the people,
11:27I have asked some of the people,
11:29and asked some of the people,
11:31and asked some of the people about the women.
11:34So I always say that,
11:36after eating at home,
11:40I would like to raise my mother's hand
11:43and raise my mother's hand on the plate.
11:45If I do so,
11:47I think my working on the Manke Manjare project
11:50becomes worthwhile.
11:51Because often we don't even,
11:53we don't even know this.
11:55We don't give importance.
11:57We don't give importance.
11:58We take part of life for granted.
12:00This entire conversation about Manke Manjare
12:03was about men taking women for granted.
12:06And that's why it was a very important journey.
12:08So, what is the difference between composing a film song
12:13and composing a jingle?
12:14What is the difference you find?
12:15In the jingle,
12:17you come back to the point.
12:18In the 30 seconds,
12:19you don't have to talk about it.
12:20You have to talk about the catchy lines.
12:22In the film,
12:24you feel like a whole time signature.
12:28It's like 2020 and test match.
12:312020 is jingle,
12:34test match is film.
12:35You have a movie for 4 minutes
12:39and a film for 2-5 hours
12:42to tell your journey.
12:44And there's 30 seconds of time to tell your journey.
12:46There's a lot of skills for the two.
12:48The time frame governs your sensibility.
12:51When you give hook line,
12:54when you don't give it.
12:55How much you come slowly,
12:57how much you come slowly,
12:58how much you come slowly.
12:59The difference between jingles and fills.