- today
Mumbai: During an exclusive conversation with Mithoon, a music composer, and Mohit Suri, a director, where they discussed their collaboration on the song "Dhun" for "Saiyaara". They shared insights on how their partnership evolved, the creative process behind "Dhun", and the elements used in the song. Moreover, Mithoon discussed his workflow with Mohit Suri, including the number of drafts shared and the decision-making process for vocal casting. In the last, the duo's creative synergy and approach to crafting memorable music.
#MohitSuri #Mithoon #musiccomposer #director #Dhun #Saiyaara #Trending #BollywoodNews #BollywoodGossips #BollywoodUpdates #BollywoodNews #Bollywood #Bollywoodcelebrity #BollywoodHindiNews #ians
#MohitSuri #Mithoon #musiccomposer #director #Dhun #Saiyaara #Trending #BollywoodNews #BollywoodGossips #BollywoodUpdates #BollywoodNews #Bollywood #Bollywoodcelebrity #BollywoodHindiNews #ians
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FunTranscript
00:00So hello mate sir, welcome to INS and first of all congratulations for Sayyara that's about to
00:04release. Thank you so much. I have to start off by asking both of you, 2005 is when I heard
00:12two decades, roughly two decades since then. Tell me how this partnership has creatively
00:18evolved and how did it trickle down into Dune for Sayyara? Have we evolved?
00:25Because I still feel like the same, it was like yesterday that when I met you at Mahara,
00:38today I went to his studio and maintained that this is never my office,
00:45whatever offices I live or whatever, it will never happen. I will always come to his office and jam with him
00:55I don't know, I feel a little pious, I feel like there is a lot of work.
01:07We have done a lot of good work. I am surprised by myself in that place, I don't know what it is.
01:13I don't know what it is. It is flat in Varsova, in his studio. And it's just something that
01:23we have cut off from the other world and we can only talk about music, about stories.
01:31How has it evolved? I don't know. We have never thought about it. And we have never seen that it has been so many years,
01:39we have to do something else. We didn't want to do anything. We didn't want to do anything.
01:47We didn't want to do anything. But I can say for him, we really like the work we do, I think.
01:55Who doesn't do anything?
01:57No, I know there are a lot of people who go, like I know people who do corporate jobs and something like that,
02:00who do it and they enjoy the money. I am not saying everyone does that.
02:03But, I mean, I am not saying that one of our industry is a business-oriented and a stardom-oriented.
02:13But here is a very pure passion-driven problem.
02:17Where I have to make a music with a artist,
02:22I don't get so much satisfaction from anyone else.
02:26I think you should ask.
02:30No, I think I will second that the process is so beautiful in yourself.
02:35Because we don't discuss a lot of the film.
02:41We talk about it, we talk about it, we talk about it,
02:44we talk about it, we talk about it, we talk about it, we talk about it.
02:48So, I think that we actually get the love of life,
02:53and we become a music in that process.
02:55Yeah.
02:57So, people say that we are very different socially,
03:00because their lifestyle is very different,
03:03and we don't get so much socially,
03:06but we get so much of this story,
03:09and we talk about it,
03:11that we are very good friends,
03:13and that's why our relationship also has become very popular,
03:17and we have become so many songs,
03:20and so many records.
03:22So, people ask us that this song is on this man,
03:25and on this man,
03:26and on this man,
03:27and on this man,
03:28we think it's really.
03:29Yeah.
03:30Because that's only our relationship,
03:32that's the difference.
03:34You know, we don't meet to do business or to do work.
03:38Whenever Mohit Suri comes to my studio,
03:40it's not a work meeting.
03:41So, my team also knows that,
03:43let them leave a little bit,
03:44and now they are in a timeless zone.
03:47And,
03:48this is a required question,
03:50because when you worked for the first time,
03:52I'm sure every artist wants their artwork to be covered through all corners.
03:57We are very busy,
03:58and we need this music.
03:59How did the briefing change change,
04:02especially during the day?
04:04Like,
04:05a lot of it,
04:06was it picked through,
04:07what was the unsaid between the two of you?
04:09Because you shared the same,
04:10similar wavelength.
04:11It's actually not changed at all.
04:13I think,
04:14the good thing,
04:16I think between Mohit Suri and Mahi,
04:18is that,
04:19I think,
04:20I think,
04:22I think,
04:23this thing is very clear that,
04:25the art is bigger than us.
04:27Right?
04:28And,
04:29the process of sanctity,
04:30we try to keep it today.
04:32Sometimes,
04:33when he feels the need to pick up the phone,
04:35and tell me,
04:36Mithun,
04:37I think,
04:38you are going a little pat,
04:41or you are sitting in a trap,
04:43let's go back to our strengths.
04:45And,
04:46sometimes,
04:47I think,
04:48not only in the music,
04:49but overall in Sayara,
04:50I think Mohit has reclaimed,
04:51what is his territory,
04:53and how he has always worked.
04:55We are talking about that.
04:56And,
04:57I think,
04:58that's what people are liking.
04:59What was the germ of Dhun,
05:02what was the co-radiah,
05:03here,
05:04the song will become,
05:05and then,
05:06the situation and other,
05:07the instrumentation will come,
05:08which you will do the layering,
05:09or the programming.
05:10What was the idea,
05:11and how did you share the idea?
05:13I just had an emotion,
05:15and that,
05:16I didn't have to share,
05:17I was talking about emotion,
05:19and what is the reason for a musician,
05:22who is being the artist,
05:23and how does it happen?
05:24What is the art,
05:25and how does it happen?
05:26It's all that happens.
05:28If an artist says,
05:31that he loves himself,
05:33and he says,
05:34that the art is worth it.
05:36He says,
05:37that art is worth it.
05:38What can you give a bigger thing?
05:40Whether it's money,
05:41or a house,
05:43or anything,
05:44but he dedicates his art to you.
05:47and we had another promotion in the car and Mithun said, this is a good thing to make a song.
05:59At that time, I was thinking about how to make a song.
06:04And Mithun has to motivate it.
06:08It takes a little time to do it.
06:12But once I was motivated, then after that, my map is done,
06:19that when Mithun chase you and you say that I have a very good song,
06:24I'm ready, then all the music directors will fail.
06:28That song will be so good.
06:31But that's my job. My job as a director is to motivate.
06:34I don't know, I don't know, I don't know, I don't know, I don't know.
06:42I don't know, I don't know, I don't know.
06:46I listen to music just as a feeling.
06:49But all I have to do as my job is to emotionally motivate someone like Mithun.
06:54And he comes out with the magic.
06:59And Mohit, if you could deconstruct this song for me.
07:03I don't know, you have to share an idea.
07:04Yes.
07:05You have to share a song like that.
07:07It was on a song promotion where he shared the idea with you.
07:11You have to share an idea with you.
07:13Then you have to create a blueprint.
07:16Do you have to use the elements?
07:18Percussion or string section perhaps?
07:20In my opinion, you can't do a deconstruct word.
07:26Because it's very minimalistic.
07:28I think that the song is the emotion of the song.
07:33So, if you don't do any programming in it,
07:37I've listened to some songs only on the piano.
07:40And sometimes it feels better.
07:43Sorry, I'm just butting here.
07:45But I think that this is a very richly programmed song.
07:48Like Amir has programmed a rich composer.
07:51Because the song has said that I only have a dhun.
07:56And if I think that it has increased more.
07:58So, this is a confident music director.
08:02So, this is a rich, rich music director.
08:06A rich, rich music director.
08:08So, this is what I feel is the power of dhun.
08:12But this is what, sorry, go on.
08:14Because it's saying that I only have a dhun.
08:16And if you think that if you have a dhun.
08:18I'm nothing wrong with that.
08:20But that's the essence.
08:22That's the essence.
08:24And it's better than when you introduce yourself.
08:27Just when you try to introduce yourself.
08:28If you do, I'm gonna introduce yourself.
08:29So, if you're a guy with a dazu
08:32And then you're gonna write it as the bare minimum.
08:33You're gonna tell this song.
08:34And if you have just introduce yourself
08:35And if you're a great singer
08:36That's even more polite to me.
08:37And I'm also a singer.
08:38And a composer.
08:39And a arranger.
08:40So, I am always a singer.
08:41And my passion is always a singer.
08:42And sometimes
08:44If I can bend my singing
08:46My passion is that it can power me.
08:48I don't want to use it.
08:51I'm thinking, I want to call violence, don't do it.
08:54I want to call chorus, don't do it.
08:57Because I have a passion for my own,
08:59and when I film a other film, I will show a big deal.
09:03I can see a video online,
09:06I'm like, you're playing a big deal.
09:08You're playing a big deal.
09:11I'm like, you're playing a big deal.
09:12I've seen an award function,
09:14and I'm like, you're playing a big deal.
09:16You're playing a big deal.
09:17Enjoy.
09:18You're playing a big deal.
09:20And I'm like,
09:21I'm like, look at this.
09:23Look at this.
09:27No, but that's a special moment.
09:29Because in one point,
09:31I was talking about the first time,
09:34that when I had a little overstep on the shoot,
09:38and I got a phone,
09:40and they told me,
09:41that in the first draft,
09:42the silence was missed.
09:44And that's the beauty of the song,
09:45that where the song goes,
09:46and where the song goes,
09:47and where the song goes.
09:48There's no confident character,
09:50that he will speak throughout the song.
09:52There's a vulnerability also,
09:54and that silence is very important for the song.
09:57And then,
09:58I have to reclaim it back.
10:00I think that this is a special moment,
10:02because if someone else happens,
10:04it will probably be impressed,
10:05because the sound is better,
10:06and the layers will be added.
10:08If I add something else,
10:10it will probably be impressed.
10:11But this is not an impression,
10:13it will only connect.
10:15So, I think,
10:16that's the first thing,
10:18that makes my music very rich.
10:20He touches,
10:21he reaches out for the soul of the song.
10:22Yeah,
10:23but he can do that,
10:24even by,
10:25saying no to,
10:26making it richer.
10:27He might say,
10:28go back to the poorer side,
10:29go back to what was empty.
10:31I think,
10:32that's a very secure directory.
10:33You can call it a very secure directory.
10:34And,
10:35you have used a word,
10:36minimalistic approach.
10:38You have to keep your art,
10:40keep its elements minimalistic,
10:43and make it rich.
10:45Not a lot of people can do that,
10:48or crack that perfect balance.
10:51Tell me,
10:52when you share the draft with him.
10:54Sometimes,
10:55sometimes,
10:56sometimes,
10:57sometimes,
10:58but on an average,
10:59how many drafts
11:00do you have to share
11:01with the land?
11:02How many drafts
11:03do you get approval?
11:05On an average?
11:06No,
11:07honestly,
11:08I don't think,
11:09there are tweaks,
11:10but Mithun,
11:11which comes to this song,
11:13the original,
11:15after that,
11:16you have to do something,
11:17but in the original,
11:18there is honesty,
11:20he takes a little time
11:22to give me his first draft.
11:23He always says,
11:24maybe get the right voice,
11:25I have not,
11:26they get the right voice,
11:27they get the right voice,
11:28they get the right voice,
11:29they get the right voice,
11:30they get the right voice.
11:31But,
11:32the right voice,
11:33if someone has learned the right voice,
11:35if someone has learned the right voice,
11:38then that's Mithun.
11:40You know,
11:41he,
11:42the way he got out,
11:43I was not the one who discovered,
11:45the talent of Ariji,
11:46that was Mithun.
11:47Yeah.
11:48And,
11:49I was looking everywhere around,
11:50but,
11:51you know,
11:52he used it in Moabat,
11:54and then,
11:55in Tumiho.
11:56And,
11:57because he was so good in Tumiho,
11:58I used him in the other songs.
11:59But,
12:00whether,
12:01it's all the people,
12:02like Papundao,
12:03it is,
12:04all the people that we've used,
12:06all the new people,
12:07it is Mithun,
12:09who has found this voice.
12:10And,
12:11you know,
12:12one thing I like about him,
12:13he's taught me something,
12:14that,
12:15he has to just find the right song.
12:19So,
12:20I have a lot of friends,
12:22musicians,
12:23singers,
12:24and he's actually cracked a very good song with them.
12:30And,
12:31you said,
12:32casting is something he's really good at.
12:34Now,
12:35tell me,
12:36Phil Mohbad,
12:37you mentioned,
12:38there's one,
12:39there's Arigit,
12:40and Sam Bhatt,
12:41like I'm not wrong.
12:42Now,
12:43let's see,
12:445,
12:454,
12:465,
12:475,
12:485,
12:495,
12:505,
12:515,
12:525,
12:535,
12:545,
12:555,
12:565,
12:575,
12:585,
12:595,
13:005,
13:015,
13:025,
13:035,
13:045,
13:055,
13:065,
13:075,
13:086,
13:096,
13:105,
13:116,
13:126,
13:136,
13:147,
13:156,
13:167,
13:177,
13:187,
13:197,
13:207,
13:218,
13:228,
13:239,
13:248,
13:258,
13:269,
13:279,
13:2810,
13:299,
13:309,
13:3110,
13:329,
13:3310,
13:3411,
13:3510,
13:36and we had to shoot the climax of the song and align it.
13:41So we thought that the drama will increase the drama here.
13:46And the drama increases the drama here.
13:49But as I was doing it, there was a friendship,
13:54there was a song in it, and it was sinking.
13:58So we did 2-3 drafts, but we went back to our original drafts.
14:03We thought that the drama is going on, and we maintained the drama.
14:08He played on music.
14:09He played on music.
14:10We had released that drama.
14:11So I think that Sangeet talks about you,
14:14what to do when he listens to a song or an extra element,
14:18he is not somebody who takes it back to the cooking table.
14:24He will react to that.
14:25I think the brilliance was when I heard,
14:27after a few years, when I had listened to it,
14:30it was so simple.
14:32His emotion was so clear.
14:34But when I felt that it would be soft,
14:36the man was screaming.
14:38He was seeing the pain.
14:41When I was expecting the pain,
14:43the man was saying the pain.
14:45Sometimes it was true.
14:48Sometimes it was pain in Siamat.
14:50Sometimes it was purity.
14:53Innocence.
14:54It was an emotional rollercoaster for me, that song.
14:58But the fact is, it felt like one emotion.
15:02I don't remember the sound.
15:04I said, can we do this?
15:05It's a rainbow.
15:06No.
15:07In fact, it's not like a rainbow.
15:09After the rainbow, all the colors mix,
15:11and they make white light.
15:13It has purity.
15:15It's the other way round of a rainbow.
15:17It's the reverse prism.
15:18I asked Mithun, can we do this?
15:23And he said, is it giving you different emotions?
15:26I said, no, it's giving me just one.
15:28So he said, then we can do it.
15:30So I think, what he made me realize,
15:35that the emotion of the song is,
15:37whether it is one or whatever it is.
15:42Mithun, I have observed in your songs,
15:46tell me if I am right or wrong with my analysis.
15:50Tell me.
15:51I feel a very trans-like state when I listen to all your songs,
15:54despite the genre that it is composed.
15:56Even I do.
15:57Yeah, like a Sufi trans,
16:00it's a very delicate balance.
16:03When your songs are composed,
16:05for you, it's your work.
16:07You have to look at it very categorically,
16:10here, here, here, here.
16:12But the end user,
16:14how do you make sure that
16:17your feelings inside,
16:19while maintaining that trans-like state?
16:23I actually don't think so much.
16:29Yeah, no one wants you to,
16:31I think trans is trying to say,
16:33how do you immerse someone into a song?
16:35Yeah, but it doesn't have any formula.
16:37We are just true to the moment.
16:39To the moment,
16:40that we have played the song,
16:41like,
16:42I want you to also like it.
16:44It's a piano melody.
16:45It's a piano melody.
16:46Or Aashiki 2 theme.
16:48Da-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra-ra.
16:55These nits,
16:57the sound of a song,
16:59the sound of a song,
17:00the sound of a song,
17:01the sound of a song,
17:02the sound of a song itself,
17:04I can speak more.
17:06At my shows,
17:07I perform it,
17:08I see how people are connected to it.
17:09But when we listen to this sound,
17:10it was just that moment,
17:11he felt it has an emotion to itself.
17:12So then we keep it.
17:14Sometimes we record takes but we go back to scratch takes
17:20because we think that there is a connective element
17:23which will be able to throw the listener in the way
17:25and now it's a constructed sound, a forced sound
17:28You too?
17:29You too?
17:30We went back to the scratch signal
17:32So we have that honest
17:33Did he hear something scratched?
17:34Yes, from the first drop
17:36His scratches normally have the original signal
17:41He makes you hear the song
17:44He is not like a scratch
17:47It's a work in progress which is 90% there
17:51Sir, you were saying something?
17:53No, I was saying that these small small things of takes
17:56and I think Mohit is also very sensitive about these things
17:59If you are a composer
18:01If you have a little bit of a re-dubbed
18:03then you get to know Mohit first
18:06Personally, I have experienced this experience
18:10that the way you experience your personal emotional experience
18:13is so universal
18:15So you don't have to think
18:17that you will go into the other trance
18:20or you will feel it or not
18:22If you are feeling it
18:24we are not human
18:25we are not special
18:26so whether it be a film or a scene
18:29or a song
18:31the way we are personal
18:33it becomes universal
18:36True
18:37Absolutely
18:38So with that we have reached the end of this conversation
18:40So with that we have reached the end of this conversation
18:41So with that we have reached the end of this conversation
18:42that we have reached the end of this conversation
18:45Another thing, I just think that this vision
18:47which is our 20 years
18:49I think
18:5020 years ago
18:52I was working with newcomers
18:54and Mithun was with me
18:55We are newcomers at that time
18:57Then in the end
18:59even though we went apart or whatever
19:02we came together
19:03and made
19:04a film that is iconic
19:06to both our lives
19:07which was Ashiki
19:08which was on the 10 year mark
19:10I think
19:11the 10-12 year mark
19:12but
19:1312 years later
19:14again we are
19:15at
19:16I think that we are working with new people again
19:18and I am still working with Mithun
19:20but somewhere
19:21that's what life teaches you
19:22is whenever I have gone back to my core
19:24and gone back to it
19:25people will appreciate it
19:28and I hope people
19:29give Saiyara the same love
19:31that they have given me
19:32all through my career
19:33I am sure a lot of it is coming into your career
19:35Thank you
19:36Thank you
19:37Thank you so much
19:38and I wish you all the best for Saiyara
19:39Thank you
19:40Thank you so much