Showing posts with label Kausar Munir interview. Show all posts
Showing posts with label Kausar Munir interview. Show all posts
Women’s Day Special: Alokananda Dasgupta, Jasleen Royal, Kausar Munir confess that only way to success is through their work
8:04 AM
Alokananda Dasgupta, Jasleen Royal and Kausar Munir
Three female artistes on what drives them to success in the male-dominated music composing, and writing
MID-DAY; March 8, 2021)
Alokananda Dasgupta
Intricate and impassioned as they are, conversations on music composition with Alokananda Dasgupta are delightful for every interviewer. A far cry from the superficial accounts of the art, Bengali filmmaker Buddhadeb Dasgupta’s daughter always elucidates her answers with those engrossing anecdotes of the concerned project that enhanced her final creative piece. It is this obsession with the craft that, she admits, is an essential to enjoy a long career, especially in a field that, much like many others, is attuned to the needs of men.
“It may sound like a cliche, but, keep at it,” says Dasgupta, adding, “You must have a [deep] desire to keep at it, despite disillusionment, and intimidations, and know why you wish to express yourself. The truth is that scoring can get monotonous, because one is watching and re-watching [the film] over and over again. So, only if something is up my alley am I usually kicked about composing for it. I will make something that I want to hear as a viewer, and hence take my role as an audience and consumer of that project, very seriously.”
Following her acclaimed work in Sacred Games with shows like Leila, Breathe: Into the Shadows, and the fast-paced AK vs AK, Dasgupta doesn’t shy away from admitting that gender discrimination, while not exclusive to the film industry, is something she encounters owing to the authority afforded to her as music director. “Sometimes, I am egged on to analyse why certain incidents happen, and I understand that people hesitate to accept instructions from a female [musician], who doesn’t look old either. I’ve chosen to wear horse-blinders for several issues. Things may upset people, but what can I do? It is my job, I have to talk to them and tell them what has to be done.”
Admitting that gender bias isn’t the concern that initially perturbed her about a probable career as music composer, Dasgupta says she had other battles to wage, including her rather introverted nature. “I am not a people person, and prefer spending time with [my pets]. But, I learnt on the job, and could see the loop holes and inequalities. It wasn’t shocking [to see discrimination since such instances] subtly make way into every woman’s life. For me, it started with insecurities due to simple things like being unable to participate in conversation with my male contemporaries [on topics like technology, which they can freely indulged in].” Patriarchy, she says, is so deep-seated in society that “even a filmmaker making a [pro-women] documentary is likely to come home and do something that [can be classified] as patriarchal behaviour.”
Jasleen Royal
For 29-year-old Jasleen Royal, singe-songwriter-composer, an increase in representation of women’s perspectives will offer a breath of fresh air in the music industry, and some respite from the barrage of “songs on infidelity” that have been topping the charts. “I would love to see female writers hold more key positions in the industry than they do. The industry welcomes both genders, and only considers the work that one can create. But, given that women started working late, it will take time for them to catch up,” says the singer-songwriter, adding that focussing on the creative piece, instead of the artiste who is creating it, has enabled her to develop a good ear for music.
“Women have different perspectives on matters, but let’s acknowledge that several women-oriented films have been beautifully penned by [male writers like] Gulzar sa’ab too. So, it’s essential to be influenced by good art alone.”
Royal, with films like Baar Baar Dekho and Gully Boy on her resume, says despite all odds, it is her ability to create work that she loves, that has repeatedly borne fruit. “I believe that only if I love what I put out are there more chances of others loving it too.”
Kausar Munir
Mirroring Dasgupta’s opinion, lyricist Kausar Munir says a fair share of the path to acclaim in the music industry is spent in oblivion. “You are shooting in the dark because there will be no appreciation [for a long time]. You need to spend time, and effort [in enhancing] your skills, and have faith, which is what makes the process difficult. There are several sociological factors [that deter] women from exploring the field. You need women in production arts, but as far as writing is concerned, their representation is abysmal. It could be because the writing process is disordered and fluid. There is no clear path to success, so you have to be obsessed with your work. It is a rigorous path with little guarantee of return. Women want something more promising,” says Munir, adding that though she stumbled upon the career by happenstance, she was able to pave her path by exploring various avenues of writing, instead of sticking to lyrics-writing, alone.
Munir counts herself among the fortunate for two reasons — to begin with, she claims to have not faced gender discrimination, as we know it. Also, on the rare occasion that she did, she could afford to walk out of the project, without worrying about her bread and butter. However, aware that her appointment on any project is owing to a skill-set that only she possesses, Munir celebrates factors that set her apart. Responding to questions on drivers of success, she says, “I know that there is something I can deliver, which is why I am appointed for the job. If I try to be an Amitabh [Bhattacharya] or Irshad [Kamil], I am being unfair to myself. I have recognised what makes me unique, and why I am appointed for projects. So recognizing your ability, and nurturing it will take you where you want to be.”
Admitting that the “system isn’t conducive for women”, Munir says several practices would be termed unprofessional by aspiring singers. “If I am called for a project at 12 midnight, I can go. But many women cannot. They may find it unprofessional, which it is. But this system is tuned against women. I am not even going into the [sexual] harassment aspect, which is prevalent. To women, I would say, don’t be afraid to fail, and tread new paths.”
Bollywood's women share their success mantra
8:00 AM
With International Women’s Day two days away, we ask some successful women in cinema to part with one valuable advice that they would give young ladies in their field
Nikshubha Garg (MID-DAY; March 6, 2016)
The fact that Bollywood is largely male dominated is well known. However, over the years, several women have not only managed to make a mark in the industry, but an increasing number of them continue to throng fields which were long considered a man’s domain. With International Women’s Day around the corner, we speak to women in various fields of filmmaking, who are masters of their trade, about what it takes to be a woman in this industry and ask them for tips on how to keep going.
Richa Chadha, actress
Known for her unconventional choice of films, Chadha made her debut with 'Oye Lucky! Lucky Oye!' and went on to do critically acclaimed roles in 'Gangs Of Wasseypur', 'Goliyon Ki Raasleela Ram-Leela' and 'Masaan'.
Bollywood, for actresses, is still a male-dominated domain and expectations from women are different. For instance, from wearing a chiffon saree to doing an action sequence, you are always expected to look stunning, no matter what. Also, people in the industry perceive you differently once you are married or have a baby. There are way too may dynamics to discuss but people are way more critical of women.
Don’t compare yourself with anyone
I have garnered fame in the past three to four years and that’s the result of hard work, luck and getting the right opportunities. Everyone in this industry works hard to be where they are. Whether you appreciate their work, or give enough credit to them is a different matter altogether, but that’s the truth. Having been around for a while, I would say that it’s very important to be patient and understand the fact that everyone takes different means to be successful and defines success in their own way. You can’t sit back and compare yourself with others. You have to chart your own course.
Kausar Munir, lyricist
Munir began her career with writing for the television show 'Jassi Jaisi Koi Nahin' and has written songs for films like 'Ishaqzaade', 'Ek Tha Tiger' and 'Dhoom 3'.
I think that things are looking up for female lyricists in Bollywood and an increasing number are getting opportunities to showcase their skills. The ratio might be lesser compared to men, but I am cautiously optimistic. I don’t see anyone’s work being judged based on gender. However, having said that, I feel that people behind the scenes are judged mostly on the quality of their skills.
Be yourself
Whichever field you may choose, there are no guidelines or handbooks. Everyone has to find his or her own way. I think the awareness of what novelty one can bring in helped me. Humility and strength comes from knowing what you can do and what you can’t and pretending to be someone else is doing disservice to yourself. The same thing goes for gender. Embrace being a woman or a man and flaunt with that identity. Honestly, if I try to be one of the guys, it’s not going to help. But if I am going to be a friendly woman without the baggage of being one, I am bound to go a long way.
Shruti Mahajan, casting director
Mahajan began her career as a casting assistant and is responsible for casting films like 'Bajirao Mastani', 'Goliyon Ki Raasleela Ram-Leela', 'Mary Kom', 'Shamitabh', 'Bobby Jasoos' and 'Finding Fanny'.
There is no short cut to making it big. If you have the correct intention and focus on your job, you will survive no matter which field you are in, whether you are a man or a woman. In fact, as a casting director, I feel that this field of filmmaking is not a man’s domain anymore. Women today have an edge over men in this field because it requires one to possess soft skills, which women naturally own. My male contemporaries have guided and supported me as well.
Intentions matter
If someone focuses on the job and takes it up for all the right reasons, he/she is bound to survive. I didn’t take casting up because it looked easy. I came into the field because of my passion for cinema. You just have to be good at your job.
Deepa Bhatia, editor
Having worked on films such as 'Kai Po Che', 'Taare Zameen Par', 'Rock On!' and 'Student Of The Year', among others, Bhatia has made a mark as an editor.
I cut my first film when I was 23 and the editing industry then was male dominated. However, Renu Saluja’s (Parinda) success at that point of time made me believe that all of us women could do it. And look how far we have come now. You pick 10 films today and women would have edited at least four to five of them. You can equally name five top men editors and women editors. It’s an open forum.
Hang in there
The nature of the job is such that you get better with time. Every editor needs to be patient and just hang in there. I struggled during my first few films, as I was apprehensive about doing it correctly and doing it well. I often questioned myself whether I knew all that is there to know about the craft because I was self-taught. However, I stuck around and it got better. Recognition, money and wisdom doesn’t come overnight; you need to give it time. I have seen newcomers who were good, quitting because the pay was less but I would want to ask them to hold on and everything will fall into place. It did for me.
Hetal Dedhia, gaffer (light designer)
Asia’s only woman gaffer till date, Hetal has worked on Bollywood films such as 'Don', 'Luck By Chance' and 'Guzaarish' as well as international productions, including 'Eat, Pray, Love' and 'MI 4: The Ghost Protocol'. She is the daughter of Mulchand Dedhia, a celebrated gaffer.
Academics wasn’t for me and I dropped out of school after the 10th standard, and began working immediately. It was an awkward feeling when I started; people didn’t believe in me and thought I would give up soon. However, that only strengthened my goals. Getting into a non-woman zone thrilled me and I haven’t regretted it even one bit. As for surviving, it wasn’t difficult. I know women do not become gaffers for various reasons but it’s a great place to be. I embraced being a light designer and focused on the job, and the respect I got in return was unimaginable.
Nothing is impossible
Everyone’s journey is different and difficult as far as being a gaffer is concerned but the only tip I could give is that once you know that this is what you want, just go for it. Nothing is impossible and you can do wonders. Once they get into gaffering, women will realise how satisfying it is as a career.
I don't know why young people are imagined to be stupid-Kausar Munir
8:48 AM
Seema Sinha (BOMBAY TIMES; June 27, 2014)
Simple but not simplistic is
lyricist Kausar Munir's mantra for life as well as for her profession.
In a very short time span, she has managed to separate the wheat from
the chaff and score an array of hits. She talks about the inspiration,
challenges and rivalries in the music business.
Your songs Palat Tera Hero Idhar Hai, Raat Bhar and Rabba are going strong. How did these songs happen?
I had written Har Ek Friend for David Dhawan's Chashme Baddoor (2013). He was keen that I do another song. Sajid-Wajid had their tune ready and David knew what he wanted. David and both his sons work as a close knit team. Rohit (his older son) was heavily involved (with Palat... from Main Tera Hero) and we took feedback from Varun. But these songs that appear seemingly easy are the hardest to do. To crack this very simple yet catchy and populist vibe is hard, and I don't understand the game of hits and flops. When I heard the melody of Raat Bhar, I knew it would work. The credit goes to director Sabbir (Khan, director of Heropanti). I had written something high-brow but he asked me to be simple, as a conversation between a boy and a girl. It has a resonance with younger people, it expresses their sentiment. Many have made it their status on social media.
You are a Bandra girl and have studied at St Xavier's College in Mumbai. How did you imbibe the culture and language of Bollywood?
People feel that I think in English and that I must be good with Urdu because of my name. All this is not true. For me, it is all hearsay. I have a ear for languages not because I have studied them. Mere kaan pakke hain. I was pretty good at Hindi in school. I cannot read or write Urdu but I respond to it phonetically. I used to jot down the lyrics of the songs I liked. I never planned to become a lyricist, however. I graduated from St Xavier's College in English literature, then got into writing documentaries and then television happened with Jassi Jaissi Koi Nahin. Films happened by chance. My friend Vijay Krishna Acharya was making Tashan. He offered me to write and I came up with Falak Tak. I didn't come here with a diary or a dream.
You seem set to rewrite the standards of lyrics in Hindi films...
There was a huge discussion about the word 'sangemarmar' in the song Suno Na Sangemarmar (Youngistaan) but it fell beautifully into the film and became a hit. As a lyricist, I have to make the best of the small space I've been given in pleasing the ear. This is where the composer comes in. I can't stray far from the song situation, and at the end of the day everybody wants a popular song. Nowadays, popular means pandering to the lowest common man. I don't know why young people are imagined to be stupid but everybody feels jitna basic hoga utna achcha. I try to be true to myself and to the vision of my director.You have to be simple but at the same time not simplistic. The song should have some depth. If you see the work of lyricists Amitabh Bhattacharya, Irshad Kamil or Swanand Kirkire, it is high quality stuff. When we get together and discuss things, we understand how some lyrics were a compromise for the tune or for the producer.
Who's been your inspiration?
Inspiration doesn't apply to me as I never dreamt of being a lyricist but I've always been a huge fan of Gulzar sahab. In originality, he is the best. Take these words from Kajra Re (Bunty Aur Babli), 'Aankhen bhi kamaal karti hain, personal se sawaal karti hain'. At 70, one can't be more modern than that.
Which composers do you work well with?
My first and last - Amit Trivedi and Sajid-Wajid. Every time Sajid-Wajid bag a new project, they send me an enquiry, 'Are you interested?' It started with Mashallah (Ek Tha Tiger), we've become great friends.
How do you evolve and grow in your field?
A certain lethargy is a valid side effect of this business. If you've been noticed and are doing well, work piles up along with expectations. Two or three mistakes and you start to dwindle. So if I feel I am getting into a rut, I check myself. I say to myself, 'Don't be insecure, it is okay to say no to work'. For writers, reading, writing, thinking, watching movies and taking time off is part of the job. Otherwise, it is just churning.
Tell us about your future projects.
I am doing the songs for Daawat-E-Ishq and Tevar, both composed by Sajid-Wajid. Besides the lyrics, I have also written the dialogues for Kabir Khan's Phantom and the story-screenplay for Ramesh Sippy's next.
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