Yesterday, on the occasion of World Music Day, renowned writer, lyricist and poet Javed Akhtar and celebrated Grammy-winner, singer-composer Shankar Mahadevan, came together to share some moments with us to talk about their musical memories, their strong bond and most of all, their endless fascination for music. Excerpts:

Javed: The origin of music always fascinates me. That’s how humans must have found rhythm and sur in the universe - in nature, through birds, rivers, waterfalls, wind and so on. It’s so fascinating how human beings all over the world discovered that there are seven notes. Even when I think about how music developed in prehistoric times, it fascinates me. Music is inherent in human nature. I feel that music is the poetry of sound, and poetry is the music of language. So, of course, we should honour this day, but I feel World Music Day should be celebrated every day!

Shankar: Music unites people in a beautiful and tremendously powerful way. Music triggers wonderful feelings and is such an amazing tool of communication. It’s great to celebrate World Music Day, because the language of music is universal.

Shankar: When I was three-and-a-half years old, I saw an instrument (harmonium). At that time, I didn’t even know what it was, and I started playing a bhajan that we used to sing at home. So that was my first memory of music. The mystery of the seven notes was demystified in one shot. I guess the connection between music, notes and notation happened organically for me.

Javed: My mother, who came from a middle-class background, taught in a college. But being a great music lover, she had a gramophone and some records, a luxury which only rich people could afford back then. In Bhopal, we used to live on the first floor of a building and the owner was on the ground floor. Obviously, he was richer than us because he had a radio, and every time he would play it, we’d hear it too. When I was about five years old, I remember seeing my mother rushing to the balcony, because one of her favourite songs was playing on the radio. She would stand there, and I’d follow her and look at how she’d listen to this song (Ghabra Ke Jo Hum Sar Ko Takraye To Achcha Ho from Mahal) with so much attention. So, that is my first memory of music. Another memory is of my daughter, Zoya, who was about four months old when she used to react only to one song from Raja Jani. I always wondered why she was so fascinated by the tune of that song.

Shankar: I consider him as a blessing that has come to me from above. Javed sir is one person who stood by me like a pillar of strength, he has been a guide and a genuine well-wisher for my entire family. I feel secure that Javed sir is with me in the industry. We don’t feel it’s work when we are creating a song together. One day, Shabana (Azmi) came to the studio and said that if any producer sees the way you both work, they will never pay you. Javed sir’s biggest strength is his humour, and because of that, even serious work gets done easily.

Javed: Shankar is very special to me. Recently, I went to his house and we had a huge lunch. Mahadevans are foodies. Then we went to his music room, and by evening, we had completed a song. For us, one sitting means one song. But that’s not the case with every other composer. Our ultimate work together was Breathless. The idea was with me for 6-7 years. I’d mentioned it to different singers and music directors. Everybody liked the idea, but nobody took it up. Then I met Shankar and he immediately agreed to do it and that is how it started.

Shankar: I’m from a simple, middle-class South Indian family. I could never think of pursuing music as a career. We were a simple family, we lived in a 1BHK (500 sq ft) house, so how could I think of making a living out of music? It was far, far beyond my reach.

My father had a singer friend who used to play the harmonium. One day, he brought it to our place, and for the first time, I saw a harmonium and pressed the keys. And then it became my fantasy to learn how to play the harmonium and learn music, but circumstances never allowed me to do it. Music and tunes have always fascinated me. I have the talent and I think that with a little training, I could be a musician. Writing, of course, was inevitable, as that was my heritage, it was in my genes. The last seven generations of my family were writers of a certain known status.

Javed: The director has certain requirements. Then, there are music directors, and more often than not, the songs are written to the tune. So, he may say, ‘Sir, my tune cannot adjust this particular sound or word. There is a murki here and this word is flat and will not allow the murki.’ That happens. But I refuse to accept unnecessary, non-creative suggestions. Sometimes, if the situation becomes impossible, I walk out of it. I have no hesitation in leaving a film. But, I will not write what I am not capable of. I will not write anything that is obscene by any stretch of imagination. I will not write something grammatically wrong. If you don’t know the language, I cannot be responsible for that.

Shankar: I feel the director is closest to the film and the captain of the ship. For a movie, we are not just music composers, we are music designers. The director knows what works best for them. So, we take their inputs positively and design music that satisfies the director’s vision.

Several artistes suggest that they occasionally find themselves leisurely working on projects offered to them, only to scramble and wrap up the work at eleventh hour. This interview with Farhan Akhtar and Shankar-Ehsaan-Loy appears to proceed no differently. Abundant tomfoolery predominates the first 15 minutes — it appears as though the quartet is enacting the rough draft of Zindagi Na Milegi Dobara. 

Reminded by their publicists that they are running against the clock, they seem to recall that they had ‘serious’ questions prepared for one another, as part of this interaction. They manage to squeeze some in, as Shankar enquires if the box-office performance of Farhan’s second directorial venture, Lakshya, was a disappointment. The latter, in turn, probes them about a project that has tested their sensibilities.

The entire interaction, available on our YouTube channel, is assuredly worthy of a watch. In the meantime, these edited excerpts will highlight why this team — whose latest work, Toofaan, releases on Friday — always creates the finest films based on friendship.

Farhan: I do, and, just the other day, I found these hand-drawn storyboards [that I had made] during the first few weeks of shoot. It was special. The memories of recording the music are special. I remember meeting you all at 4D [music studio]. You all were finalising the music of Mission Kashmir, and played the song Dhuan to me. It’s such a good song.

 

Farhan: Breathless had blown my mind. I was still writing [the script of Dil Chahta Hai] then, and didn’t know what my plans were. At the time, [A R] Rahman had become a big name. I spoke to pa [Javed Akhtar] and said I’d like to meet him. But he said he didn’t think our temperaments would match. I am the kind of guy who sleeps at 9 am, and he wakes up then. Also, I wanted someone who was hungry, like I was. I remembered how amazing Breathless was, and there were other songs [of SEL] that I liked. Dus’ Suno gaur se had also come out then, and it all felt right.

Shankar: I remember, [with Breathless], you, Zoya [Akhtar] and Javed ji were sitting in a room, and you told me, ‘We will make this video. It will become famous. Then we’ll make big movies, and lots of money.’

Farhan: [I’d say] anything to get you all on-board. Every script has a culture; every character a sound. That the three of you could understand the process, and make it effortless, seemed amazing. The music [in that decade] was very different. The way you processed it felt right.

Loy: There was one; was it a blues [song]?

Farhan: That song hasn’t left me. I’ve put it in the archives, or something. It is in my head, I have never forgotten it.

Shankar: Pyaar mein kitna gham hai.

Farhan: That’s it. I will 100 per cent use it in some film. We recorded one mukhda and antara for it. Pa had also written the lyrics. It was for [the section which eventually included] Tanhaayi.

Farhan: Yes, one was Chamkile din. I stand corrected now, but when I heard it, I told dad it sounded like a detergent [commercial]. Another one was pyar ke ghat jo utarte hai. I found the reference old-fashioned. But he said, like trends, words come and go. The young generation is reintroduced to some words only through songs. It’s a nice way to keep these words alive.

Farhan: There are a couple of films like that, including Lakshya. It’s not one you associate with music because it is about dramatic personal growth. In this case, it is about how effectively a writer can weave in a song to further the story. In films like Dil Chahta Hai and Zindagi Na Milegi Dobara, you can pause the story [to include a song]. But, in films like Lakshya, you can’t, because the driving factor for the viewer is the story. Such movies are tougher to work on. They are easier for the writer. So, for pa, it is easier because he knows where the song is being placed in the film, and can write in accordance with that situation. But, for the composers, it is harder. Because the music has to become an extension of the score.

Farhan: I’ve never boxed before. The closest I’ve come to boxing is evading punches from Zoya. But, when you are inspired by a script, something happens. You don’t feel like you’re working anymore. It’s not about the physicality. If I was walking down the street and someone told me to do 50 push ups, 

that will feel like hard work. But, if [a script like this] wakes something up within you, you are drawn to it.

Shankar: But to sustain that for [18 months] must have been tough. I remember, you would wake up and be at the boxing ring by 6.30 am. Often, you would message me from there with ideas about a song. I’d wonder how this man could do it?

Farhan: Like with Bhaag Milkha Bhaag, it came from being so excited and inspired by what was being asked of you. I’m sure it’s the same for you guys. If you’re in a studio, you all keep [creating music] till it feels amazing. Until that’s done, you can’t sleep.

Farhan: Yeah, but only because it was probably the hardest I had worked for anything. [We were always taught] that if you work hard, you will succeed. Here, we did. But I had expected it to do better than it did. I was disappointed. But, on the flip side, there’s a story I’d like to share. In 2017, I went to Dehradun for a live concert. It was the first time I was heading there after the release of Lakshya. I told [the officials] I’d love to visit the academy [where the film was shot]. Graciously, they organised a visit. There were 700 cadets. Someone asked me the reason behind making the film. And I narrated a story about [something that transpired in 2000]. I think you [SEL] were there with my father at an event in 2000, when an [army official] had told him that there was a shortage of officers entering the army, after Kargil. The army was praised for how they dealt with the intruders. But, as a career option for the educated, it was vanishing. Dad said he would write a film about it, and that is how Lakshya got made. I was telling [the cadets] this story. One major, who supervises them, said he wanted to show me something. He took to the mic and asked [the cadets] who among them had joined [the force on being inspired by] Lakshya. About 70 per cent raised their hands. And that made me realise that we are [unfortunately] only bothered about box-office numbers. Here, the purpose of making the film was evidently served.

Shankar: I had composed it before I had met Ehsaan and Loy. It was for a TV series. The difference between working for your production and another one is that we don’t need to consult anyone else. When we work on music, we arrive at many [melodies]. We like some, we throw some. But, if we like an idea, we can consult you, and it is [finalised]. It’s not like we’re told, ‘Okay, we’ll come back to you.’ The process becomes easier.

Loy: Yeah, the fact that you take the call on a song speeds up the process by 10 times. That’s the problem in the industry. [Delays] set you back significantly.

Mirror had reported (August 29) about Shah Rukh Khan surprising Farah Khan by dropping by the sets of her upcoming show, Lip Sing Battle. Now, we hear Parineeti Chopra and Karan Johar kicked off the weekend by battling it out on the show with a surprise performance by Preity Zinta.

A source from the sets informs, “Preity decided to do a guest appearance when Karan was dancing to 'Rock N Roll Soniye' from their 2012 film, Kabhi Alvida Naa Kehna. Meanwhile, Karan and Parineeti performed on Govinda's songs with Pari taking it a step further by even dressing up like Govinda in a multi-coloured shirt over a red gunjee. She even attempted to seduce Karan on the Kick hit, 'Yaar Na Mile'. KJo's expressions were suitably priceless.“

On Sunday, Arjun Kapoor and Farhan Akhtar were pitted against each other for another episode. While Farhan dressed up as Rishi Kapoor in his outfit from the Karz song “Om Shanti Om“, Arjun did Sanjay Dutt's Khalnayak turn, grooving to the its title track and “Tamma Tamma“ from Thanedaar. “It was a nostalgic moment for Farhan, who also performed to Shankar Mahadevan's 'Breathless', whose video he directed in 1998,“ the source added.