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.
00:07I thought that I would do a jingle and I was happy doing that.
00:10So Swannan Kirkar 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, it comes from the script.
00:23I like the script or not.
00:24But 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.
00:30When did you realize to take music as your profession, as your career?
00:36After doing economics, I used to work in an advertising agency.
00:42It's called Contract Advertising.
00:44The creative director of Pradeep Sarkar was created.
00:49There were people in our batch.
00:52There were people in the company, who wrote the company.
01:00And their assistants were Divakar Benarajji, who directed the company.
01:06So this was a team.
01:08And I was in the client servicing.
01:10I was sitting at lunch time.
01:12I used to feel very jealous.
01:15These people are in creative.
01:17And I was also a little creative.
01:21I was a little bit shy.
01:22Because I studied some other things.
01:24I was doing economics.
01:25And there was a middle class Bengali.
01:28You don't take art as a profession.
01:31You take something else as a profession.
01:33That's why there was a discussion.
01:36When I started playing in-house music, my first ad said,
01:42I love Uncle Chips.
01:44And that was a hit.
01:47After doing it, everyone told me, why wouldn't I take this up as a profession?
01:50Secondly, jingles used to earn more money than Indian classical music.
01:55So clearly, it was a huge avenue.
02:04So I started to sing a little bit.
02:06When I realized that I can sustain myself doing just jingles,
02:09then I left my job and had to do jingles.
02:11So I think in that moment, I realized that
02:13I can take music as a profession.
02:16But not like this.
02:17Not like this.
02:18I didn't think that it won't be in holding any day.
02:21I thought that I would do jingles.
02:23I was happy doing that.
02:25So how do you feel about jingles and how do you feel about jingles?
02:27Jingles and how do you feel about jingles and how do you feel about an album.
02:30At that time, it was a lot of fun in Punjabi songs.
02:35Dere Mindi was ruling.
02:37Jesse was ruling.
02:38I had a feeling that I needed to do something else.
02:40And that was the birth of Apke Savan.
02:43Shuma Mudgulji with her project.
02:45She was so sweet that
02:48I was a complete nobody.
02:52But still, she spent a lot of time.
02:54Apke Savan received very well.
02:56At that time, I was in Delhi.
02:57Lazy Bengali didn't want to go to Bombay.
03:00Sudhir Mishra heard Apke Savan.
03:02He wanted a new music director for Hazaar Akhoeshe.
03:05He heard Apke Savan.
03:06He was convinced this is the person
03:08that I want to film.
03:10So he contacted me.
03:12And Hazaar Akhoeshe was the first project
03:14by which I moved from Delhi to Bombay.
03:17But Apke Savan.
03:19Like you didn't read Limelight.
03:21How did Parinita happen to you?
03:23I had a song called Bavraman.
03:26Bavraman was very good at Pradeep.
03:28I have told you about the contract advertising.
03:31I didn't have my first album.
03:33It was a music video.
03:34Plus, we had an agency.
03:37I think we had more ads with people.
03:41It was a good thing.
03:42But he was very, very impressed with Bavraman.
03:44And he wanted Vesex sound for Parinita.
03:47We had a song called Parinita,
03:49which later we included in the album.
03:51His name was Rath Humari Tovchand Ki Sahelie.
03:53Then he took me with Vidubun Ochopla.
03:55And he liked the song.
03:57And that is how Parinita happened.
03:59Two things happened basically.
04:01My association with him.
04:02More importantly, Bavraman.
04:04How did your association work up with Swanand Kirkere?
04:09Swanand Kirkere was...
04:13Ittiva ki baath hai ki jab...
04:15Sudhir Mishra dhun rahe tha...
04:17Ek music director.
04:18Unki associate director tha Swanand Kirkere.
04:20Farasa Rakhwashi asi.
04:21So Swanand Kirkere heard apke saavan.
04:23Along with Sudhir Mishra.
04:27And 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 saavan anyway.
04:35Toh unse mulaqaat mujhe as an associate director hua.
04:38Who was assisting Sudhir Mishra.
04:40Kaam karte karte.
04:44Ek din Sudhir Mishra ne bata hai ki
04:46Inke wase gana hai bavraman likha hai to aap.
04:48Dekli jain?
04:50You get some singer to...
04:51If you like the words then you use some singer to dub it.
04:54So I said okay as a Swanand ko ki ap...
04:57Bata ki kya lyrics hai.
04:58Toh he said...
04:59Main usually majab bikta hou.
05:00I just...
05:01I like to sing it along.
05:02Toh...
05:03Main...
05:04As a present karta hou.
05:05Toh jab man onhe bata hai toh...
05:06Maino ko itna yad hai ki...
05:07I have found his voice so mesmerizing.
05:09Ki maine shab bhi shayad tikti suna nini ho ga hai.
05:12Toh...
05:14Main unko...
05:16Studeo le gaya.
05:17Toh bhot nervos kisam ki inshaan thai.
05:19Abhi bhi hai ose.
05:20Toh unko bata hai nahi kiya I unko dub karne baala ho.
05:22Unko le gaya ho mein.
05:23Bata kiya...
05:24Yeh dubbing roo me baat kiya.
05:25Aap sara mike me.
05:26Bata yye.
05:27Or woh joh bavraman hai.
05:28Woh baabraman hai.
05:29Woh baas hi karke rekord kiya man hai.
05:30Eek...
05:31Unko bata hai nahi ki...
05:32Recording ho raha hai.
05:33But...
05:34Itna magical voice tha woh.
05:36Or...
05:37I just fell in love with that voice.
05:39And boh...
05:40Association tapse sure ho hai.
05:41Brilliant writer.
05:42Brilliant singer.
05:43Now a screenplay dialogue writer.
05:45Toh bhagawan ne do haatsa shri vat kiya isko.
05:48And...
05:49I always have a...
05:50Eek desire ota hai ki...
05:51Nea talent...
05:52Tohundu...
05:53Yeh nahi talent se...
05:54Kaam karu.
05:56And...
05:57Swannam was a very pleasant discovery.
05:58Just because I'm open to that idea.
06:00Toh aapko...
06:01Toh aapko...
06:02Personally...
06:03Kis tarikaka music compose karna...
06:04Ya sunna...
06:05Don't know...
06:06Alag-alag tarikasa...
06:07Jyadah pasan hai.
06:08Dekhi...
06:09Kya hai ki...
06:10Mäin jab kompose karta hong...
06:11Toh mire baas...
06:12Ab kisawan hai...
06:13Man ke manjire hai...
06:14Problem kya ho ta hai ki...
06:15Hum loog usually...
06:16Hum...
06:17Hamara desh eek yunik desh hai...
06:18Jaha peh sinema ka woh hi...
06:19Gaana ho ta hai...
06:20Baaghi nahi ho ta...
06:21Sinema ka kya ho ta hai ki...
06:22Mäin jab sinema ke lihe kompose karta hong...
06:24I keep myself in the...
06:26Back door...
06:27Kirdaar kya hai...
06:28Characters kya hai...
06:29Story kya hai...
06:30Location kya hai...
06:32Tithi kya hai...
06:34Kab kab ho ra hai...
06:35Yeh sab important factors ban jate hai...
06:38Dhun dene ke lihe...
06:39Toh vaha peh may kya chaatha ho...
06:41Vaha peh uska eek chota sa role hai...
06:43Vaha se...
06:44Sinema ka demand kya hai...
06:45Woh kya hai...
06:46Haan...
06:47Is...
06:48Pura cheez ka joh eek...
06:49Choosing ho ta hai project...
06:50Uska aata script se...
06:51Mujha script pasan da hai ki nahi...
06:53But once I have chosen the script...
06:54Tav shantanu mohit tira doesn't become important...
06:56What is the demand of the song...
06:58Or the music...
06:59Is important...
07:00Par jab mein...
07:01Shantanu mohit tira important ho ta hai...
07:02Jab mein album kar ta hai...
07:03Tab...
07:04Uska...
07:05Ruchhi hai...
07:06Aapke saawan...
07:07Uska ruchhi hai...
07:08Man ke manjeere...
07:09Toh yeh doonho...
07:10Do different schools ho ta hai...
07:11Do different schools ho ta hai...
07:13And Varanasi is...
07:14Like a cultural capital...
07:15You can say India...
07:16Toh usne aapke...
07:17Kitma effect kya...
07:18And uski...
07:19Yadho ke varanasi...
07:20Tiki...
07:21Agar aap...
07:22Agar aap...
07:23Laga chunra me daag liege hai...
07:24Toh...
07:25Voh bilkul...
07:26Eek mere...
07:27Bajhparan ka...
07:28Down the memory lane hai...
07:29Vohi awase...
07:30Vohi ghantiya...
07:31Vohi mantra...
07:32Vohi gali mein gai...
07:33Vohi energy...
07:34Vohi innocence...
07:35Vohi dichotomy...
07:36Vohi dichotomy about...
07:37Religion...
07:38Vohi passion...
07:39Oldest cities in the world...
07:40Toh this is something...
07:41I can...
07:42Mai...
07:43Soong sangta ho bana ras ko...
07:44And I've tried to give that...
07:46When I compose...
07:47Laga chunra me daag...
07:48Kisi bhi...
07:49Upbringing mein...
07:50Kisi bhi...
07:51Jagah pe...
07:52Jaha pe character hai...
07:53Voh...
07:54Voh if it's part of your...
07:55Upbringing...
07:56Automatically...
07:57Voh...
07:58Vohi personality...
07:59In effect...
08:00Jis jaga pe koji...
08:01Character...
08:02Nahi hai...
08:03Bab jaha pe...
08:04Uah...
08:05Neutral...
08:06Character...
08:07Voh distinct...
08:08Sound...
08:09Distinct...
08:10Taste...
08:11Distinct...
08:12Flavor...
08:13Poshak...
08:14Bad kalnay...
08:16Language...
08:17There are important parts in your upbringing
08:20And that's why it's important for me as a composer
08:23This is what I've been doing in Banares
08:26What I've been doing in Banares
08:28That I've been doing very important
08:30So when you said that you had to take a career as a professional
08:34Because it was a musical, how much support was there?
08:38Because it was a musical, it was a very against
08:41Because they had a very bad time
08:44Especially because it was in Indian classical
08:46We usually say that when we see big names
08:50In the thousands of people who are successful
08:54I don't know about them
08:56I don't know about them
08:57They want a tragic life
09:00After a music
09:03Where actually recognition is not so much
09:06Especially when it was not
09:08I'm talking about 40-50 years
09:10That's why I'm being the only son in the family
09:13I think that this is not what I want to do
09:19They wanted me to work like any other person
09:21City bank or something
09:23But I think money is a lot better now
09:27They are very happy with the decision
09:29And
09:31Opposition was there
09:33But later on I could see
09:35Especially when Pranita was there
09:37My father was very proud
09:39Once Breakthrough approached you for a music album on women's dreams
09:43And when you saw the women's condition
09:47Male dominator wall
09:49So what happened?
09:51I don't want anything
09:53I don't want anything
09:55The project's name was Manke Manjir
09:57When Manke Manjir approached me
09:59The project's name was Manke Manjir
10:05A Women's Dream and Ambition
10:07So what do women's dream and ambition
10:09I don't have any idea
10:11Generally I don't have a lot of ideas
10:13Generally I don't have a lot of ideas
10:15Fortunately I had the freedom to go to various parts
10:20And record women who sing
10:25When I was taking a journey
10:27Then I realized
10:29What is the
10:30What is the
10:31What is the
10:32What are the problems
10:33Like a small dhara
10:35Rukma Bhai
10:36Rajasthan, Mangania tribe singer
10:38The polio victim
10:40The person in his family
10:44Had a place in his home
10:46That
10:47She had to leave the tribe
10:49And the tribe
10:50She couldn't sing
10:51And the tribe
10:52She couldn't sing
10:53And she couldn't sing
10:54Because she couldn't sing
10:55So this is
10:56That woman's dream
10:58That she is
10:59And the ambition
11:00That she is
11:01And the ambition
11:02That she is
11:03But because the community
11:04Doesn't allow it
11:05So she sings
11:06So she is
11:07In the mood
11:08A dichotomy
11:09Where she is
11:10She doesn't have to sing
11:12Because she is a woman
11:13I never understood
11:14Thanks to this project
11:15When I went outside
11:16I realized
11:18What is
11:19And this is
11:20I have given you
11:21A big picture
11:22And in the small picture
11:23It is
11:24That
11:25I have asked
11:26Some of the time
11:27Some of the time
11:28What did you learn
11:29What did you learn
11:30What did you learn
11:31Or what did you learn
11:32About the women
11:33So I always say
11:35That after the manke manjiri
11:37When you eat in the house
11:39Then I will put my mother
11:41Or my mother
11:43Or my mother
11:44To put the plate
11:45If I do that
11:46So I think
11:47My working on the manke manjiri project
11:50Becomes worthwhile
11:51Because
11:52Often we don't even
11:53We don't even
11:54We don't even know this
11:55We don't even know this
11:56We don't give importance
11:57We don't give importance
11:58We take it as part of life
11:59We take it as part of life
12:00We take it as part of life
12:01This entire conversation
12:02About manke manjiri
12:03Was about
12:04Men taking women for granted
12:06And that's why
12:07It was a very important journey
12:08For me
12:09So
12:10What is the difference
12:11You mean
12:12Composing a film song
12:13And composing a jingle
12:14What is the difference
12:15You find
12:16Jingle
12:17Now
12:18You come to the point
12:19In 30 seconds
12:20It's a catchy line
12:21To both
12:22In the film
12:23You have a full time signature
12:28It's like
12:302020 and test match
12:312020 is jingle
12:32Test match is film
12:332020 is jingle
12:34Test match is film
12:35You have a
12:371.5-4 minute
12:38And a film
12:40For 2.5 hours
12:41For a film
12:42To tell your journey
12:44And there
12:4530 seconds
12:46To tell your journey
12:47For a very skill
12:48For a very skill
12:49Time frame
12:50Governs your sensibility
12:51What is your time frame
12:52What is your sensibility
12:53When you give hook line
12:54When you don't
12:55How much
12:56How much
12:57You come to this point
12:58How much
12:59You come to this point
13:00How much
13:01You come to this point
13:02This whole sensibility
13:03Is between jingles and fills
13:04Thank you
13:05How much
13:07You can see
13:12How much
13:13You could see
13:14How much
13:15You can see