Exclusive Interview : मोहित मिथूनच्या साथीनं 'सैयारा' होणार 'सैराट'; मोहित सूरी, मिथुननं उलगडलं 'यशराज'सोबत काम करण्याचं गुपीत

ETVBHARAT

'सैय्यारा' चित्रपट 18 तारखेला प्रदर्शित होतोय. या चित्रपटाचे दिग्दर्शक मोहित सूरी आणि संगीत दिग्दर्शक मिथुन यांच्यासोबत 'ईटीव्ही भारत महाराष्ट्र'चे संपादक सचिन परब यांनी संवाद साधला.

Transcript

00:00First of all, your introduction was so good. Thank you very much.

00:04Sangeet is a language of souls.

00:06My mind is that you don't have to see your success so closely,

00:11so you don't have to do that panellize.

00:12As long as you have to learn your failures.

00:15My second film is Yash Raj. I had done Shamsherah before.

00:19And there is also a company whose heart is very big.

00:24They gave me this title.

00:25First of all, I thought that you were rehashing the old songs of Yash Raj.

00:30This is my fourth generation of newcomers, which I work with.

00:35I thank my producer for the requirement of the first love of the age of 18 and 25 years of age.

00:44It will come out of time, so I don't think we have to understand the song.

00:49This is my third generation of newcomers.

00:59My third generation of newcomers is music composer,

01:01Mythun, Mythun, who we have heard about it,

01:04and the stories of our hearts are being carried out.

01:06And I think about it is not correct.

01:08It's not true that it's the soul of the soul,

01:10it's brought down the heart of the soul.

01:12The soul of the soul is being carried out,

01:12and I think both of them have also shown our own work.

01:16But one other thing I am is that the two of them are together.

01:18It's one of the first two of them.

01:20YRF with the same with the soul.

01:22Today, we will talk about our film Sayyara Koli, Mohit Suri Ji and Mitun Ji.

01:27Welcome to H.D. Bharad.

01:29Welcome to H.D. Bharad.

01:31Mohit, I would like to start with you.

01:33In your films, we have always seen that your fingers are broken,

01:37and you throw it in a better way.

01:40So, do you feel like you will be able to see that you will be able to experiment?

01:44This introduction was so good. Thank you very much.

01:49I have never seen you like this.

01:52But, I think that if there are cracks in any character,

02:01you cannot see them inside.

02:04If you don't see any flaws,

02:09you will never leave the actual personality outside.

02:14You will never see their heart.

02:16If you don't see any flaws,

02:18you will never see any flaws.

02:20If you don't see any flaws,

02:22you will never see any flaws.

02:24You will never see any flaws.

02:26So, my characters are like,

02:29you will never see any flaws in the world.

02:32Sometimes, I was able to see that.

02:33Maybe people in an advertising world,

02:37or in a perfect ideal world.

02:39But, everyone has seen it.

02:42Everyone has seen it.

02:43Everyone has loved it.

02:44Everyone has felt bad.

02:45Everybody has a lot of food.

02:47But, everyone has the ability to be the hero.

02:50There is also an ability to become a hero and love them.

02:54Emotion tone and visual tone are two things that you have achieved in recent years.

03:01What will you say?

03:04I don't think that if you work with visual tone or emotional tone,

03:11the truth is that sometimes it is wrong.

03:15Some of the films have been made when you listen to the bazaar.

03:23You know what happens when you are not.

03:26When I and Mithun started working,

03:30no one didn't talk to us.

03:33I remember that when we were recording the songs,

03:36we were trying to call the media,

03:38but no one didn't come.

03:40When we were successful,

03:42there were people's phone calls.

03:44In the world.

03:45Yes.

03:46Your work is very good,

03:48but you should do this better.

03:50For what you were successful,

03:54you started to do it.

03:56And then you do bad work.

03:57Because you don't have to do it.

03:59You want to do something else.

04:01But this is our work.

04:04I don't want to say that I have arrived at any tone.

04:08Now I am flawed.

04:10I am learning.

04:12It's been 20 years old,

04:14but I am talking about new people.

04:16I am talking about new singers,

04:18new lyric writers,

04:20new musicians.

04:22because we are learning from them.

04:24We are learning from them.

04:26We are learning from them.

04:28The technology,

04:30the people who are living on your hands on the ground,

04:32the tone is being made.

04:34I don't know that I have perfected something.

04:38Perfect is not something.

04:40It's true or bad.

04:42It's true or bad.

04:44You should go to the perfecting.

04:46But you should know that

04:48a minimalism is a word in music.

04:50In your films,

04:52you can see it in your films.

04:54That's why I said that

04:55you are speaking with your films.

04:57What are you trying to experiment with this film?

05:01I think the experimenter is a very intellectual.

05:07It's a common sense.

05:09It's a common sense.

05:10It's a common sense.

05:11It's a common sense.

05:12It's a common sense.

05:13If I sit on piano,

05:15I don't think so much.

05:17I think the students are very familiar.

05:19They have a lot of formulas.

05:21They work under a lot of formulas.

05:23I don't think we have anything.

05:25We have one thing.

05:26How I can teach children?

05:31I think I can't say anything.

05:33I don't think I can say that I can sing the lyrics.

05:36It sounds like the lyrics are words.

05:39I can just do it for them.

05:42I really try to get that song.

05:44When I can come to the songs.

05:46I feel like it is come up.

05:49My work is not to break.

05:51I don't think I can miss an accent.

05:53I feel like you are still asking yourself.

05:55I think that Mohit Suri is a great person who understands his sensitivity.

06:00Sometimes I am a composer or musician, I am an arranger.

06:06My father is also a very famous arranger in the music industry.

06:10Sometimes I feel like I will do more instruments and do more.

06:14But Mohit's sensitivity is not a brush.

06:21He says that this is our character.

06:24And I think that all of the album's album is the same.

06:28Mohit has mentioned a little bit earlier.

06:31He said that success is not a good thing.

06:35When you get success,

06:37you will become better in your own way.

06:44So what happens in the previous films that you get success?

06:48After that, that's the benefit of your music composer.

06:55What do you think about it?

06:58Actually, honestly, it's a great privilege for me.

07:02I've said that my first film was the first one.

07:06In the beginning, I got a lot of people who have always made my work.

07:12So when we were talking about that story,

07:15it was such an iconic song that I had recreated.

07:18At that time, Mohit didn't have any trouble for me.

07:20He said that this is my situation.

07:22This is my situation.

07:23You can see it in your own way.

07:25And I think that Mohit is very confident in individuality.

07:29So whether they are actors or singers,

07:33I think that we were discussing the choice of a singer.

07:36And I don't know the name of it.

07:38Because it's a good thing.

07:39But he said that this singer is a good thing.

07:41In their own way,

07:42in their own way,

07:43in their own way,

07:44in their own way,

07:45in their own way,

07:46in their own way.

07:47That's why we want to cast them.

07:48So I think that this individuality,

07:52in their work,

07:54in their work,

07:55in their actors,

07:56in their writers,

07:57in their own way.

07:58And I think that it is looking at it.

08:00My question is,

08:02That your success,

08:03your mistakes and mistakes,

08:05it will disappear.

08:07Absolutely.

08:08And you teach failures.

08:09Absolutely.

08:10The way you teach failures,

08:12you never teach success.

08:13Absolutely.

08:15The thing that is missing,

08:16the good song,

08:17the one who is not a good song,

08:18that doesn't happen.

08:19Why does that happen?

08:21You don't always based on the algorithm

08:22and marketing.

08:23And when the song is good,

08:26the one who is good in the long run,

08:27It doesn't work at that time, but it works at that time.

08:31That's what I noticed.

08:33So, my mind is that your success should not be seen so closely,

08:41so that you should not be penalized as much as your failure to learn yourself.

08:46Raw romantic, your treatment of the romantic film,

08:49you always kept raw romantic.

08:52Now, I would like to say that the films of the first time,

09:01whether it's a film from the late 60s,

09:05that's why Yash Raj has given it.

09:07It didn't make a viral, but Prada was that.

09:11So, how much did Yash Raj live in the mood of Yash Raj?

09:17Look, that was a legacy.

09:19If you ask me the truth, that the release of Diwali,

09:22my mother, my cousin,

09:25watching her pictures,

09:28we were inspired by the love stories.

09:30There was no bigger place than the love stories.

09:34I remember that I was in the 8th standard,

09:37when I saw Diwali,

09:40and I was very obsessed with all actors.

09:44So, when I was in the age of 24 or 25 years old,

09:46they had made this picture.

09:47It was a very new picture for me.

09:50So, yes, this was a pressure,

09:52that I was able to live up the legacy.

09:55But,

09:57their importance is that,

09:59when I gave them a script,

10:01I was outside,

10:02and they never said,

10:03you need to make it like this.

10:06A small thing,

10:07that when I was in the movie,

10:10when I was in the movie,

10:12I was like,

10:13you're a hero,

10:14you're a hero,

10:15you're a struggle.

10:16So,

10:17there were very small things,

10:19and I didn't know this,

10:20because they watched all my films.

10:22I was like,

10:23a whole fanboy moment,

10:24so that,

10:25I was like,

10:26Aditya Chopra had seen all my films,

10:27and I was like,

10:28I've seen all my films.

10:29I was like,

10:30but,

10:31he was,

10:32it's really good to know that,

10:35I think,

10:37this is their,

10:38I think,

10:39I will give them credit,

10:40that,

10:41I can make their own films in their company.

10:44Yes,

10:45but,

10:46they gave me that platform,

10:47that,

10:48that,

10:49they were in the picture,

10:50but,

10:51sometimes,

10:52I felt like,

10:53I was,

10:54with some people's light,

10:55I think,

10:56and I,

10:57I thought,

10:58about why,

10:59so simple,

11:00such a big thing,

11:01like,

11:02I have to say,

11:03a big story,

11:04where people never get to this,

11:05a big thing,

11:06that,

11:07people never get to this,

11:08I don't have to do this.

11:09you're like,

11:10I'm like,

11:11you're the only one,

11:13I don't have to go,

11:14I'm sorry with him,

11:15I want to go,

11:16I don't have to go,

11:17I don't have to go,

11:18because,

11:19I don't have to go,

11:20but,

11:21I did not get to go,

11:22But I think that the stories are not changing with the stories.

11:31The stories are changing, the priorities are changing, the clothes are changing, the language is changing.

11:36But the mind is the same as human beings. I think it's the same thing.

11:40My thoughts are changing.

11:42My other film is about Yash Raj.

11:47And I also said that this is a company whose heart is very big.

11:52I've used more than 200 instruments in this film.

11:57The budget was also bigger.

12:02But in the form of the film, the story was different.

12:06It was an epic film.

12:08It was different.

12:10I know that the film is a different world.

12:13Like Mohit said, he had a full open film film.

12:19And I think that the way people are taking this film,

12:24I think people are very happy.

12:26Do you think that the title of this film is the right?

12:29Who was your idea?

12:31I would like to give Sumanna Ghosh, who is our creative producer.

12:36They gave me the title.

12:38So I thought that you will rehash the title of Yash Raj.

12:43But then they learned its meaning.

12:46And the literal translation,

12:48one of the heavenly bodies,

12:51one of the heavenly bodies.

12:53But then its poetic meaning was very good.

12:58It was a soulmate.

13:00It was a soulmate.

13:01It was a soulmate.

13:02It was a soulmate,

13:03which gives you the nights.

13:04But it's never possible.

13:05So I thought it was poetic and spiritual meaning.

13:10It was very good.

13:12So I thought it was approved.

13:16I think the best person was Isshad.

13:20If Isshad is my lyric writer,

13:23if he doesn't say that this is not wrong,

13:26I probably don't use it.

13:28But no one has seen rejection.

13:31And slowly slowly,

13:32it felt like it was made with the title.

13:35No, no, no, no.

13:37How was it?

13:38How was it?

13:39How was it?

13:40How was it?

13:41How was it?

13:42How was it?

13:43This is my fourth generation of newcomers.

13:46I worked with him.

13:47Absolutely.

13:48I worked with Imran.

13:50Kangana.

13:51Kunal Khim,

13:53Aditya,

13:56Shadda,

13:57Sidat,

13:58the first and third film.

14:00And now they are doing it.

14:02I thank my producer.

14:04The requirement of this picture was

14:06that the first PR,

14:08the age of 18,

14:09the age of 25.

14:11And they allowed me

14:14to cast newcomers.

14:16Because the PR is in that age.

14:18not a saleable actor who is 35-40 years old.

14:21Yes.

14:22And the age of 18,

14:23and the age of 18,

14:24and the age of 18,

14:25and the age of 25,

14:26and the age of 25.

14:27So,

14:28this was the requirement of this script.

14:30But,

14:31if you ask them,

14:32their clothes,

14:33their style,

14:34their new style.

14:36And I thought,

14:37in this picture,

14:38instead,

14:40what happens is that

14:41a director

14:42has to be very clear,

14:44and a very clear architecture.

14:46architecture,

14:48concrete,

14:49bricks,

14:50it is very fixed.

14:51But,

14:52in this picture,

14:53I was almost like,

14:54as I was making a sculpture,

14:55I was making clay,

14:56I was making a pitti.

14:57So,

14:58I had to take their shape.

15:00I had to bend it.

15:01I had to go into their world,

15:03and see their eyes.

15:05So,

15:06what was the opportunity for me?

15:08I have actually learned to see,

15:11the younger generation,

15:12who said,

15:13that I would help with my daughter,

15:14to connect with me.

15:15What is that?

15:16Now,

15:17the generation,

15:18I mentioned,

15:19the first generation,

15:20the generation,

15:21it was,

15:22it was,

15:23it was,

15:24it was,

15:25it was,

15:26it was,

15:27it was,

15:28it was,

15:29it was,

15:30it was,

15:31it was,

15:32it was,

15:33it was,

15:34it was,

15:35it was,

15:36I felt like,

15:37that

15:38the,

15:39the moment is so sad,

15:40and,

15:41it is something that,

15:42the,

15:43example,

15:44the moment is,

15:45if the moment is,

15:46that the moment is,

15:47the period of time not,

15:48that is,

15:49the moment is,

15:50we are not done with many,

15:52the moment is,

15:53that these words,

15:54the people who sang the other day,

15:56have been very�ised.

15:58100,

15:59200,

16:00300 years old,

16:01I think that this is my dream that I have been older than 500-600 years

16:04I think that when Ujjata is performing as a DJ

16:09and when they dance 20-year-old children

16:11they dance at the same time

16:13They didn't have the same time

16:15but the fact that the song has remained

16:18It's timeless

16:19When I do concerts in my 20-year-old

16:22when I watch their songs

16:24when I watch their songs

16:26I think that this is the end of the day

16:29So that's the end of the day

16:31I don't want to take it

16:33Mohit, Mahesh Bhadji has recommended you

16:37after your show

16:38that my show was written

16:40that was written

16:41that was written

16:42in Mohit's film

16:44Do you get a boost?

16:46Do you get a boost?

16:48It's biased

16:49But I'm his favourite

16:51If it's alone

16:55in the world

16:56in the world

16:57in the world

16:58in the world

16:59in the world

17:00in the world

17:01in the world

17:02in the world

17:03who will always fight

17:04and that's why

17:05he is Bhatt Sahib

17:06So

17:08if you do something wrong

17:10he will teach you

17:11in the world

17:12he will not be nice

17:14He will not be nice

17:16But

17:17if you have to fight for the world

17:19if you have to fight for the world

17:21if you have to call someone

17:22if you have to call someone

17:23then Bhatt Sahib

17:24no better

17:25We are going to give you

17:27thanks to you

17:28that

17:29once again

17:31you try to do a new day

17:33you try to do a new day

17:34this time

17:35you try to do a new day

17:36the people

17:37you like to do it

17:38Thank you very much

17:40Thank you very much

17:41Thank you very much

17:42these are

17:43these books

17:45who have said

17:46that

17:47this is not a voice

17:48that

17:49this is the phrase

17:50that

17:51they live

17:52this is the same thing

17:54in the way

17:55He also did

17:56the name of the book

17:57he has

17:58made up

17:59these books

18:00they had to call him

18:02He will object to his

18:04and he will look

18:06to his

18:08and this is

18:09they should be

18:10I will tell you that this is the best film of RASIKO.

18:15I will give you this note.

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