'I believe background scores are more challenging than song compositions' - Music director Monty Sharma
He dished out some soothing melodies from his music stable for Saawariya and here he is, designing tunes for some big-ticket films. Monty Sharma, who stepped in the esteemed Bollywood music industry as a background scorer is all set to mark a niche for himself. The new-age musician in a freewheeling interview with Radioandmusic.com's Anita Iyer talks about the success of his debut film, reality shows, forthcoming films and much more.
Excerpts:
Why did it take you so long to make your debut as a music director with Saawariya when you have been in the industry for so many years?
It took long because I was looking out for the right opportunity which gives me complete liberty to explore my talent and potential. I wanted to work with someone who gives me my space and does not interfere in my creative process. Sanjay is a known perfectionist and it was a challenge to compose for his film. But I am glad the songs turned out well.
But you stepped in the music world much before Devdas…
I worked as a mere keyboard player in Shekar Kapoor's 'Mr. India' and also for Ismail Durbar. I arranged the title track of 'Nimbuda' in 'Hum Dil De Chuke Sanam' and then moved upwards to do the background scores for Sanjay Leela Bhansali's Devdas and Black. It's only after that, that Saawariya came my way.
Was getting Saawariya a little tough?
Sanjayji loved the background scores I had designed for my earlier movies. He wanted me to compose songs for Bajirao Mastani, but that project was shelved and hence Saawariya became my debut film!
The film Saawariya proved to be a dud, while music earned a lot of moolah. Do you consider yourself lucky?
I would have been happier if the film would have done well too. But yes, I am glad that my music was appreciated and I felt as if my hard work eventually paid off! It really motivates me to work harder for my future projects.
How has the journey from Mr. India to Saawariya been?
The journey has been hectic and stressful, but yet wonderful. I believe there is no substitute for hard work. Sanjay used to show me the rushes of the films and that used to inspire me to compose something extraordinary.
Do big banners matter to you while zeroing on any project?
I don't give too much weightage to the banner while sealing a film. At the end of the day, it is really important that a film has a good subject and the scope of music in the script. Consequently, it's the dedication to make the film triumphant.
Which is more difficult in terms of composition, the background score or song sequences?
After having composed both the background and film tracks, I believe background scores are tougher because they run through the entire movie. While scheming for backgrounds, one needs to connect consistently with the characters and the emotions of the movie. On the other hand, one cannot deny that song compositions have a larger scope.
Your compositions seemed original…
My music is original and I do not believe in the concept of plagiarism. I will never resort to it just because nothing else works out. I change my tunes immediately even if they sound a bit familiar.
Reality shows seem to have flooded the television space. Do these shows have the potential to hunt new talent as they claim?
I believe reality shows provide a platform for new talent and give birth to a new generation of fresh voices. Also, I am open to experimentation and working with new talents in the industry.
Do you get inspired by the works of Laxmikant-Pyarelal? Can you share some memories?
After being in the industry for quite some time now, I have realised how different they were. They were organised, dedicated and thorough professionals in its true sense. I get to hear many times that my music has a reflection of Laxmikant-Pyarelal's work and I don't deny it. I think it is inevitable because I grew up listening to their music.
Tell us something about your international projects lined up?
I have one international project, Dubai based movie Khuda Hafeez. There is another project line up, but I cannot divulge any details about it at the moment.
You are also coming up with an album; can you throw some light on it?
As of now, it is only one album with Tulsi kumar that I am working on. It is her solo album and it has been a great experience working with her.
What are your forthcoming films?
I am working on a couple of movies like Sunny Deol's Chamkoo, Subhash Ghai's Right Ya Wrong, Neeraj Vora's Run Bhola Run, Khuda Haafeez and a few more. I have also composed the background for Harry Baweja's Love story 2050.
He dished out some soothing melodies from his music stable for Saawariya and here he is, designing tunes for some big-ticket films. Monty Sharma, who stepped in the esteemed Bollywood music industry as a background scorer is all set to mark a niche for himself. The new-age musician in a freewheeling interview with Radioandmusic.com's Anita Iyer talks about the success of his debut film, reality shows, forthcoming films and much more.
Excerpts:
Why did it take you so long to make your debut as a music director with Saawariya when you have been in the industry for so many years?
It took long because I was looking out for the right opportunity which gives me complete liberty to explore my talent and potential. I wanted to work with someone who gives me my space and does not interfere in my creative process. Sanjay is a known perfectionist and it was a challenge to compose for his film. But I am glad the songs turned out well.
But you stepped in the music world much before Devdas…
I worked as a mere keyboard player in Shekar Kapoor's 'Mr. India' and also for Ismail Durbar. I arranged the title track of 'Nimbuda' in 'Hum Dil De Chuke Sanam' and then moved upwards to do the background scores for Sanjay Leela Bhansali's Devdas and Black. It's only after that, that Saawariya came my way.
Was getting Saawariya a little tough?
Sanjayji loved the background scores I had designed for my earlier movies. He wanted me to compose songs for Bajirao Mastani, but that project was shelved and hence Saawariya became my debut film!
The film Saawariya proved to be a dud, while music earned a lot of moolah. Do you consider yourself lucky?
I would have been happier if the film would have done well too. But yes, I am glad that my music was appreciated and I felt as if my hard work eventually paid off! It really motivates me to work harder for my future projects.
How has the journey from Mr. India to Saawariya been?
The journey has been hectic and stressful, but yet wonderful. I believe there is no substitute for hard work. Sanjay used to show me the rushes of the films and that used to inspire me to compose something extraordinary.
Do big banners matter to you while zeroing on any project?
I don't give too much weightage to the banner while sealing a film. At the end of the day, it is really important that a film has a good subject and the scope of music in the script. Consequently, it's the dedication to make the film triumphant.
Which is more difficult in terms of composition, the background score or song sequences?
After having composed both the background and film tracks, I believe background scores are tougher because they run through the entire movie. While scheming for backgrounds, one needs to connect consistently with the characters and the emotions of the movie. On the other hand, one cannot deny that song compositions have a larger scope.
Your compositions seemed original…
My music is original and I do not believe in the concept of plagiarism. I will never resort to it just because nothing else works out. I change my tunes immediately even if they sound a bit familiar.
Reality shows seem to have flooded the television space. Do these shows have the potential to hunt new talent as they claim?
I believe reality shows provide a platform for new talent and give birth to a new generation of fresh voices. Also, I am open to experimentation and working with new talents in the industry.
Do you get inspired by the works of Laxmikant-Pyarelal? Can you share some memories?
After being in the industry for quite some time now, I have realised how different they were. They were organised, dedicated and thorough professionals in its true sense. I get to hear many times that my music has a reflection of Laxmikant-Pyarelal's work and I don't deny it. I think it is inevitable because I grew up listening to their music.
Tell us something about your international projects lined up?
I have one international project, Dubai based movie Khuda Hafeez. There is another project line up, but I cannot divulge any details about it at the moment.
You are also coming up with an album; can you throw some light on it?
As of now, it is only one album with Tulsi kumar that I am working on. It is her solo album and it has been a great experience working with her.
What are your forthcoming films?
I am working on a couple of movies like Sunny Deol's Chamkoo, Subhash Ghai's Right Ya Wrong, Neeraj Vora's Run Bhola Run, Khuda Haafeez and a few more. I
have also composed the background for Harry Baweja's Love story 2050.
Gadda da Vida is the lounge bar at the recently opened Novotel Mumbai Juhu Beach. Designed to carry a feel of the psychedelia of the 1960’s, Gadda da Vida takes its name from Details...
Gadda da Vida is the lounge bar at the recently opened Novotel Mumbai Juhu Beach. Designed to carry a feel of the psychedelia of the 1960’s, Gadda da Vida takes its name from Details...
