It
was
ingenious
to
rhyme
'shaayari'
with
diary
in
Jaan-E-Mann.
Here
was
a
film
where
the
characters
were
very
urban
and
well-educated
in
English.
Their
dialogues
were
studded
with
English,
so
once
again,
why
should
the
songs
be
different?
Shirish
Kunder's
approach
was
unique
-
he
was
narrating
a
love
story
like
animation,
like
a
comic
book,
with
images
that
stayed
on.
He
used
music
in
a
very
fresh
way.
For
example,
when
each
of
the
family
members
of
the
girl
feel
that
she
should
marry
one
of
the
heroes
he
could
have
had
various
sequences
about
how
they
told
the
girl
what
they
felt.
But
audio-visually
he
condensed
it
all
into
the
song
'Kubool
kar
le...',
which
was
like
saying
dialogues
in
songs.
Shirish
had
made
a
storyboard,
and
the
lyrics
flowed
from
there,
with
phrases
like
'Shaadi
ke
liye
agree
nahin
kiya...'
and
'Taaron
pe
chalna-valna
easy
nahin...'
In
'Humko
maloom
hai...'
we
had
to
condense
a
10-minute
scene
into
a
few
lines,
to
show
that
the
girl's
parents
did
not
accept
her
man.
I
brought
in
intimacy
with
the
words,
'Mom
maani
nahin,
Dad
naaraaz
the...'.
One
of
my
fans
told
me
that
he
realized
that
I
had
used
English
words
weeks
after
listening
to
the
song,
because
this
is
how
we
speak
in
real
life!
And
tell
me,
can
you
think
of
a
Hindi
or
Urdu
word
for
a
pullover,
a
diary
or
a
note-book?
With
pullover
the
buck
stops
at
sweater
-
which
is
also
an
English
word!
Would
you
use
English
in
your
non-film
shaayari?
I
have
used
it.
It
is
part
of
our
natural
way
of
expression.
I
do
not
see
any
compromise
in
aesthetics
there.
The
borders
between
English
and
all
our
languages
has
been
blurred
anyway.
Cup,
glass,
ticket,
film,
mummy,
daddy
-
they
are
all
English
words.
Should
we
translate
coffee
as
'maya'
(liquor)
or
lawn
as
'ghaas
ka
maidan'
and
call
tennis
as
'gend-balla'?
I
think
that
poetry
must
touch
today's
life
and
must
reflect
the
era
in
which
it
is
written.
That
would
mean
that
what
was
being
done
all
these
years
was
not
very
natural.
I
agree
-
that
was
artificial
language.
A
living
language
is
always
imbibing
words
from
other
languages,
like
English
itself.
Only
a
dead
language
can
be
a
classic!
Your
last
four
films
show
a
synergy
with
young
filmmakers
and
composers.
Yes,
but
I
would
prefer
to
point
out
that
all
four
are
completely
different
films
where
my
language
and
styles
are
completely
different
from
each
other.
There
are
lyricists
who
are
known
to
be
very
good
but
write
all
kinds
of
subjects
in
the
same
language.
I
think
that
being
different
and
variegated
is
even
more
important
than
just
being
a
good
poet!
You
have
always
had
an
extraordinary
result
with
A.R.Rahman,
who
unlike
you
barely
knows
Hindi
and
Urdu.
How
do
you
explain
foolproof
joint
collaborations
like
Dil
Se...,
Saathiya
and
now
Guru?
I
think
that
music
directors,
like
lyricists
and
singers,
have
a
very
keen
sense
of
the
most
delicate
tonal
variations
in
sound.
When
we
work
together,
I
like
to
travel
with
my
words
as
usual
and
he
likes
to
travel
with
what
he
can
do
in
music
that
is
innovative.
But
the
results
come
because
both
of
us
are
travelling
with
the
film.
Also,
a
quality
that
Rahman
has
is
that
he
has
totally
changed
the
format
of
our
songs
-
with
him
it
is
not
necessary
to
have
the
conventional
mukhda-antara-mukhda
structure.
His
songs
often
run
like
a
free
verse
poem,
and
free
verse
eminently
suits
me!
Guru
is
yet
another
example
of
how
I
mentally
go
and
park
myself
into
the
character's
psyche
in
a
situation.
Aishwarya
Rai's
song
'Barso
re...'
has
all
the
images
associated
with
a
village.
Abhishek
Bachchan's
songs
have
liberal
Urdu
and
Persian
as
he
has
worked
in
Turkey,
and
I
have
maintained
this
even
in
their
duets!
In
fact
in
one
song
the
heroine
even
asks
him
in
a
line,
'Kyoon
Urdu-Pharasi
bolte
ho?'
All
these
small
nuances
are
not
noticed
most
of
the
time
and
rob
you
of
well-deserved
appreciation.
How
can
I
be
in-your-face
about
it?
It's
all
about
being
honest
to
your
work.
From
old-timers
to
R.D.Burman
and
then
Anu
Malik,
Rahman
and
Vishal
Bhardwaj
you
move
one
more
generation
ahead
to
Pritam
in
Just
Married.
How
was
the
rapport
there?
Pritam
has
a
very
strong
sense
of
melody
apart
from
his
inclination
for
Western
music.
His
music
in
this
film
is
completely
different
from
his
normal
scores.
I
have
again
gone
with
the
story
and
even
referred
to
snoring
in
one
of
the
songs,
because
snoring
as
a
daily
quirk
achieves
importance
when
a
boy
and
a
girl
in
an
arranged
marriage
go
for
a
honeymoon!
What
made
me
happy
about
Just
Married
is
that
my
daughter
Meghna
is
so
much
aware
of
small-town
middle-class
sensibilities
after
narrating
an
urban,
upper-class
story
in
Filhaal.
She
even
made
Pritam
stick
to
the
right
instruments.
Many
years
ago,
when
Jagjit
Singh
scored
my
Ghalib,
I
had
asked
him
to
ensure
that
no
instruments
that
were
not
around
in
Ghalib's
time
should
be
employed.
How
has
the
music
of
The
Blue
Umbrella
shaped
up?
I
think
that
after
Pancham,
the
only
composer
I
know
who
is
great
at
children's
songs
is
Vishal
Bhardwaj
-
they
both
share
this
childish
streak.
I
have
done
a
lot
of
work
with
him
from
dubbed
animation
films
to
Makdee
and
a
Tom&Jerry
series.
What
is
coming
up
next?
I
am
doing
Shaad
Ali's
Jhoom
Barabar
Jhoom
and
an
album
for
children.
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