Lyricist Sameer Anjaan turns 66 today. Explore his incredible journey in this exclusive flashback interview, unveiling his path from entering the industry to becoming a beloved Bollywood lyricist.
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00:00 If you tell anyone in the film world and you are in the hope that someone is yours, then
00:06 it is a big mistake of yours.
00:08 I am not saying that I am not responsible, but don't say that only I am responsible.
00:14 I have been giving interviews for 25 years and have given at least 5 lakh interviews.
00:22 Till date, the same questions are asked, have you ever thought that how monotonous we are?
00:28 If you ask me in the right sense, my own opinion, then I cannot call Gulzar sahib a 100% lyricist.
00:35 Where did I start my life and where did I dream of reaching?
00:50 I would like to say that I was born in a small village in Banaras, a very poor city in India,
01:02 which the whole world knows about.
01:05 A village called Odar is a little far from there.
01:09 I was born there and my initial education was done there.
01:16 I remember I studied there till the 5th grade and my grandfather used to work in the Central
01:22 Bank of India.
01:24 I shifted to Banaras and the rest of my studies were completed in Banaras.
01:32 I did M.Com from Kashi Hindu Vishwa Vidyalaya.
01:36 And till the time I was studying, there was never a thought in my mind that I want to
01:40 become a lyricist or go in the film line.
01:45 My father, who is no more alive, was my father and his influence was somewhere in my heart
01:57 and mind.
02:00 But his initial attempt was that I should not come in the film line.
02:05 I should either become a C.A. or work in a bank or in a company or do my own business.
02:13 That is why he made me study commerce.
02:16 And I have a tradition that my father himself was unemployed from Banaras Hindu University.
02:23 So people are very surprised that commerce and literature, this combination is very strange.
02:31 But I believe that it has nothing to do with your studies, your direction, your thinking
02:38 and your creation.
02:41 Devotee is a God gift.
02:43 God gives.
02:45 So after coming to a certain stage, I can say that when I was in 7th or 8th standard,
02:54 I felt that there is some germ inside, some insect, something that keeps cursing me, telling
03:01 me to think this way and look that way.
03:06 And I can say that I started writing something.
03:12 And as I believe that the way your thoughts are, your paths also start turning from that
03:18 side.
03:19 So then I got along with friends, I got along with many young poets of Banaras, then I started
03:26 conversations with them, then poetry conversations started, then I went to the stage, then went
03:31 to the radio, then went to television.
03:34 And after getting service in the bank, I worked in the Central Bank of India for 2 or 3 days.
03:42 After that, one day I remembered something and that day I decided that I want to become
03:49 a poet.
03:50 And I took 500 rupees from my mother and I caught the Kashi Express on 5th April 1980
03:59 and came to the Bombay subcontinent on 6th.
04:03 What kind of special qualities are required to become a poet compared to those who are
04:10 involved in a normal literary journey?
04:14 Look, I believe that where literature ends, the film journey starts from there.
04:24 Now I will tell you how.
04:27 Basic knowledge is necessary for any work.
04:35 I am saying basic knowledge because it has flexibility, it has flexibility, it has the
04:45 possibility of change over.
04:47 When you become a perfectionist, then that flexibility ends.
04:52 You cannot turn from the direction you are in.
04:55 For example, if today Bhim Sen Joshi is asked to sing a song by Kishore Kumar, Rafi
05:02 Sahab is asked to sing a song by him, he cannot sing because he is a perfectionist.
05:08 You cannot say that Muhammad Rafi did not have the knowledge of classical music.
05:13 But in that way he was not a perfectionist.
05:17 That is why he used to sing both classical and classical songs, sad songs and romantic
05:25 songs.
05:26 In our line, it is necessary because you are coming to write a song, so you have to know
05:33 about literary events, literary things, literary people and literary things.
05:44 But it is equally important to know as much as you can come to this line, the film line
05:52 and turn yourself in every direction.
05:55 Because I have seen here that the song is like water.
06:02 I call it the line of Santosh Narayan, "Water, water, what is your color, mix it with
06:08 it, it will look like that."
06:09 So when I started writing, as I told you, my relationship with Neeraj Ji was good.
06:22 From Som Thakur to people like Banaras' Ganesh Mishra, I sat with them, I listened to them.
06:30 Dushyant Kumar, who I can say was the one who inspired me the most, whose songs I read
06:38 and started writing.
06:40 When I did not have in my mind that I want to go to film and become a songwriter.
06:45 So I cannot say that there is no connection between literature and film.
06:52 But you have to leave literature at one place and then you have to come this way to turn
06:59 yourself in this direction.
07:01 If you say that no, we will stay connected to literary events and we will bring the literature
07:07 into the film line and write literary things in films, this is not possible for any poet,
07:14 for any songwriter, because whether Neeraj Ji has come, whether Harbanshah Bachchan has
07:20 come, whether Santosh Anand has come.
07:23 Okay, he came, some people worked, then he left, he left because he knew that this compromise,
07:32 this color, this work, these directions, this is not possible for him.
07:37 And now there are two things in this, it is seen from two perspectives.
07:44 We have a saying, "Khisyani Billi Khamba Noche", so when you leave, you abuse this
07:51 line.
07:53 But the truth was that if you did not want to, then why did you come?
07:57 It was not that you did not listen to film songs.
08:00 I met many such famous poets, I do not want to take their names, who told me that I have
08:07 come, I want to salute you that the work you do, we cannot do it.
08:13 And I agree with this because I also tried, I came many times, but I cannot write ABCD
08:19 Chhodo, Naino Se Naina Jodo, Aai Sham, Suhani Raja Jani.
08:23 I was going by the road, I was eating Bhel Puri, these thoughts do not come to our mind.
08:29 So this is a truth, a honest thing, which is very important to accept.
08:34 There are many such poets who are somewhere at the subconscious level or at the level
08:40 of the media, consider themselves poets and are active in films.
08:43 But being active, being successful, is a very big gap between the two.
08:49 So all the people who are writing songs in films, none of them should be considered poets?
08:55 No, I am not saying this, I am saying that, that is why I have never called myself a poet.
09:03 I have been saying from the beginning that I know myself as a pure singer, I believe
09:12 and I never laugh or hide in this subject that I am associated with literature and I am a
09:18 very literary poet or I am a poet, I have never said.
09:22 I have always said that I call a lyricist a carpenter, whose job is to put words in
09:31 the situation of a film.
09:33 Gulzar sir is called a poet?
09:37 Yes, definitely.
09:39 I consider Gulzar sir to be a poet, he is a poet, but if you ask me in the right sense
09:47 my own opinion, then I cannot call Gulzar sir a 100% lyricist.
09:52 This is my own opinion, I am not telling that every person should accept that.
09:58 There is a small thing associated with a poet, in which poets are usually proud of that,
10:07 that they can live the pain of sadism and can express it.
10:15 They keep a direct relationship with life and consider themselves sensitive.
10:23 So, if a poet has a sensitivity quality, which can be called a superhuman quality, then
10:30 shouldn't he be a lyricist?
10:34 No, I feel that a lyricist is more human than a poet, closer to the pain of sadism, closer
10:43 to the life of ordinary people.
10:46 If a poet is not a lyricist, then why is a lyricist more popular?
10:53 Why do ordinary people sing more songs of a lyricist?
10:57 Why don't poets sing?
10:59 This is a very big issue.
11:01 If a lyricist, whether he is a poet, a poetess, a Gulsan Babra, an unknown person, a Hindi
11:11 poet, if he sings a song of a poetess, who has used such words in films, which you call
11:17 a poetess.
11:18 I am not talking about what he wrote in literature, but in films.
11:25 When Sahil Udhiyan writes that it is better to release a story which should not be brought
11:32 to an end, than to give it a beautiful turn.
11:37 When Bhanand Bakshi writes that if a spark is lost, then the rain should put it out,
11:43 the rain should put it on fire.
11:45 So, who should I call a poet, who should I call a lyricist?
11:49 When you come to the film label, then you have to use your language, your style and
11:55 your depth as much as the character of the film.
12:01 Because you sit in the womb of the character and write.
12:05 If you are playing the role of Ghalib, and it is Ghalib's story, and you are writing
12:11 Ghalib's film, then if you have not written something of Ghalib's level, with the character
12:16 of Ghalib, then this thing…
12:18 Now, when Sahil sahab wrote that song for a character, for a film, when he wrote that
12:25 whether you are angry or not, I have said yes.
12:27 So, that character was there in that story, that girl was there, that film was there.
12:31 If you say what is in my heart today, then I will tell you, I will fix your hair, I will
12:35 punish your hair.
12:37 Now, I don't think that you…
12:39 Now, because Sahil sahab is associated with literature, he had his own place there, that's
12:43 why you call him a poet.
12:45 But you tell me a film song of Sahil sahab, sometimes I think, I call this a film poetry.
12:53 I don't call it that it is related to etiquette or you have said such a big thing, you have
12:59 done such a thing, which has never been done in the film line.
13:01 Even Sarendar has written a song, how simple he wrote, "Your mind's Ganga, my mind's
13:05 Jamuna, say Radha, say Sangh".
13:07 So, you think that man, I think, the pain of common people and if there is someone closest
13:15 to the life of common people, then he is a song writer.
13:19 Only then he writes, I was going by the way, I was…
13:21 If he was not there, then the character, the character of Coolie, who was singing in
13:25 the film, if he had not seen that Coolie, if he had not lived that Coolie, then how would
13:29 he have written?
13:31 When the promise is yours, the promise is yours, the promise is yours, the man is killed
13:34 for you, I am a simple man, a simple man writes.
13:36 So, you think, if the truck driver, how did he write that your hair is like a turn of
13:40 the road?
13:41 You think, if he had not lived the life of the driver, had not felt the driver, had
13:46 not been in the environment of the driver, then you listen to this line, then you will
13:50 understand its depth.
13:52 I think that the weight of words and the lightness of words…
13:56 There is no meaning to that, brother, a simple line, that when you used to write a letter
14:03 before, you used to see a face in the paper, it is over, everything is over.
14:08 I always emphasize on one thing that it is not about words, it is about emotions.
14:16 The same words, I use, Gulzar uses, or Javed Sahib uses, or any poet in the world uses,
14:25 the words, brother, I write that pen, he writes that pen, or he uses some other word, but
14:33 for that thing, for the heart, heart, mind, heart, nobody has invented the 50th word,
14:40 so it is not about those words, it is about emotions.
14:44 When Gulzar writes, he has Gulzar, when Javed writes, he has Javed, when Sameer writes,
14:50 he has Sameer.
14:51 The thing, like someone told me, brother, you are a heart-throb lover and you don't
14:55 go out of it, I said, why do you want to take me, brother, it is not about heart-throb,
15:00 it is not about lover, it is not about the sea, it is not about the buds, the flowers,
15:05 the flowers and the birds, it is about his emotions.
15:08 Like a poet has written very well, that from where will you get the voice similar to that,
15:15 you will get Taj Mahal made, from where will you get Mumtaz, Mumtaz is the soul of every
15:21 person.
15:22 When there are 7 notes, in those 7 notes, a super hit song is made, a super flop song
15:28 is made, why?
15:29 If there was magic of the notes, then all the songs should be super hit, outside the 4
15:34 notes, no song is made.
15:38 So, the words are the same, the words, a person uses a better version of it, a lower
15:44 version, it is not about those words, it is not about those words, it is about the emotions
15:49 of that poet, that musician, that performer, that the same voice is in you, that of Lata
15:54 Mangeshkar, that same voice is in other singers too, but why that thing does not arise?
15:59 You have said that, a small thing that was going on in the mind, when the freedom of
16:06 the expression of the poet was being discussed, as a singer, that outside the filmic sphere,
16:13 should the singer take any responsibility or not?
16:17 Absolutely, he should take it, I fully agree.
16:20 It is a very big way of opinion.
16:23 No, no, absolutely, I say in this matter, absolutely, whoever is associated with the
16:30 entertainment world, whether he is a singer, a musician, a director, a producer, every
16:35 person, if you live in a society, then you are also responsible for that society, but
16:40 then the question arises, that the burden of this responsibility should not be only on
16:46 the singer.
16:47 See, corruption is top to bottom, corruption is not only in the top or bottom, corruption
16:54 is linked from bottom to top.
16:57 If you feel that this responsibility is not being fulfilled, then go to its roots first.
17:04 I feel that the singer comes at the end or before the end.
17:09 First of all, the writer comes, who writes a story.
17:14 Because, sir, the songs, the man goes to any gurumunatta, and he has not even seen the
17:20 film.
17:21 No, no, but my point, the gurumunatta who has gone, has not seen the film.
17:26 But the man who has written that song, he has written it for that film, he has not written
17:31 his private collection in the market.
17:33 Now he has not seen the film, he is going away singing, that is his own problem.
17:38 The problem of the singer, as I just told you, when a film is made, if you want Chandan
17:45 Sa Badan Chanchal Chitwan to be written, then you give Saraswati Chandra to that poet.
17:50 Now when I wrote Ashiki, when I wrote Sajan, there was depth in the film, there was depth
17:56 in the character.
17:57 Now there is a need for breath, like for life, you just need a love, for love, I cannot write
18:03 that in Kuli No. 1.
18:05 Why not these people?
18:08 I say the biggest thing, and what about me, any poet of the world, from Majnu Sultanpuri
18:14 to Rajendra, every man, C.A.T.
18:16 Cate was also written, Inamina Dika was also written, behind Choli was also written, Sarkar
18:22 Lokhatia, so the question is not about this, why was it written, it is necessary to debate
18:27 on this issue.
18:28 When it was written, then it should not be only about Dosha Rupan Geetpakar, then the
18:35 issue of roots comes there.
18:37 Filmankan is also there, the actor is also there.
18:40 Sarkar Lokhatia was made in a very shameless way.
18:43 Yes, so why only Geetpakar, this song is sung in the streets of the village, what was
18:50 written in it that such a big propaganda was done, such a big commotion was done.
18:55 So you can't blame one person.
18:58 And when you say that there is a lot of corruption in the film, you leave the film people, you
19:05 live in your own world, in its circle, if you look at it deeply, then there is nothing
19:12 in the film line, such corrupt people, such things are going on that you are surprised.
19:19 So where does the story come from?
19:22 When a person writes a story, then somewhere from some part of the society, from some environment,
19:29 from some environment, from some character, the story comes out.
19:34 So there is something wrong with the roots and if you have to fix it, if you have to go
19:40 there, then you have to fix that root.
19:42 Who is that root?
19:44 That is you and me, that root is no one else.
19:47 I am not saying that I am not responsible, but don't say that only I am responsible.
19:53 When you ask questions, don't think that you are responsible.
19:57 When I was asked, I said that brother, when many times your songs seem monotonous, we
20:03 said why do they seem like that, you work a lot behind it, we said very good.
20:08 We said that I have been giving interviews for 25 years and have given at least 5 lakh
20:18 interviews.
20:19 Till date the same questions are asked, have you ever thought that how monotonous we are
20:24 being?
20:25 Okay, if you have not thought, then what is the reason behind it?
20:29 Okay, you did not think of a reason, so now think.
20:32 When you think, you will understand that bringing that change is not something that you can do,
20:37 it is not that easy.
20:39 Yes, I always say that whenever I have got the chance, whenever I have got the chance
20:44 to say good, and our responsibility towards the society, through the songs of the film,
20:50 through the environment of the film, I have done my best.
20:56 In whichever field I am, sometimes on television, sometimes I don't speak, whatever I have done,
21:00 as a human being I think and do things, as far as writing a song is concerned, I always
21:07 say that don't blame me, first of all you should see the story of that film, if I have
21:14 written a bad song in a good film, if I have written a bad song for a good character, then
21:20 I am fully entitled to listen to it, you have been given such a good subject and you have
21:25 written this song.
21:26 Sir, I am not blaming you for this, I was giving you this opportunity as an opinion maker,
21:35 that people's thoughts should definitely change.
21:40 You started around 1983, after that for many days, the history that you see, I read yours,
21:52 in 1990 you had a big hit, the film Dil.
21:57 In 1990, the first hit was 1990.
22:00 In the last 7 years, you have made some new films.
22:04 There was a reason behind it, because from where it started, Dil was released in the
22:12 end of 1989 and Aashiqui came in 1990, from where the success started, in the right sense
22:18 of the word, and a very beautiful period started, for 7 years, till 1995, these 5 years, Nadeem
22:26 Shravan, Anand Milind, Anu Malik, I worked with everyone and a very good work happened
22:31 and a very good musical period started, after that an incident happened and such an incident
22:38 happened that all my backbones, my supporters, my composers, all of them left me and that
22:45 was their helplessness, because that incident happened with Nadeem Shravan, Gulshan Kumar
22:50 was killed, Ramesh Torani, Kumar Torani, TIFS, they went to jail, Anand Milind's work
22:57 got over, Nadeem Shravan left, my father, who was my biggest backbone, he died, so that
23:07 year of 1995 and 1996, I was broken from all sides, and I remember when I came back from
23:16 the village, when I went to Banaras, many times I was thinking whether I should go back or
23:23 not.
23:24 After the incident, you went to the village.
23:26 Yes, my father died, so for his funeral, I had to go there, after coming back from there,
23:33 many times, and there also, there was so much controversy, because Nadeem Shravan Sameer
23:37 was such that, that two bodies, one soul, there also the media surrounded me a lot and people
23:42 asked me questions again and again, what is your opinion, who is the culprit, what is
23:46 it, I said, brother, don't ask me these things, these are the things of law and order, I will
23:51 say that he is innocent because I know Nadeem so well, so all those things happened, whatever
23:56 happened, there was a period, so when I, okay, I didn't have any alternative, because I
24:01 couldn't do anything by staying in Banaras, but when I came, so this was the blessing
24:07 of the elders and the blessings of the people that the first film which I was offered after
24:12 coming, that was the biggest musical hit film of that year, and that film was Kuch Kuch Hota
24:18 Hai, and I got a call from Yash Chopra that brother Karan Johar is making a film, in which
24:23 he wants to get songs written by you, and the period which I lived from 90 to 95, more work
24:32 I did from 96 to 2002-2003, what was good in that, that time I worked with maximum two
24:43 music directors, Anand Milind and Nadeem Shravan, after this when I opened, then I worked with
24:49 Jatin Lalit, Anu Malik, Dilip Singh Sameer Singh, Adesh Srivastav, Nikhil Vinay, I worked
24:55 with everyone, and with everyone I got different, different colors of songs, in that Soldier
25:04 came, in that Haseena Maan will come, in that Ghulam came, in that many Kuch Kuch Hota Hai,
25:10 sometimes Kushi, sometimes Gham came, so a very different color came, this Dil Lagi came,
25:15 many films came, whose music became very famous, people liked it a lot, so I don't say that
25:22 that period was a cold period, according to me, and my graph, and the songs which I have
25:29 done, I have written more than 90 to 95 songs, but what happens, here always every person
25:36 gets a stamp, that whenever Anand Bakshi's name is taken, then Laxmikant Pyarelal's name
25:41 is taken, when he worked with RD, and with Kalyanji Anandji.
25:46 Sir, without any doubt, the film world, which you are with, about that, put some light,
25:54 who is a friend in the film, is it a friend, is it yours, or is it all business?
26:00 It is all business, if you say to someone in the film world, and you are in this hope,
26:07 that someone is yours, then it is a big mistake of yours, and it is a big truth, it should
26:14 be accepted, and it should never be considered bad, because this world is a business world,
26:21 if a person goes here in relationships, then he is emotionally blackmailed, he is called
26:28 emotional fools, why?
26:30 I will tell you, I do not consider this thing bad, because every person has come here to
26:37 earn name, to earn money, to earn fame, and if he will go with this thought, there is
26:44 pain, there are many problems, many times it happened that many musicians, many producers,
26:50 directors, swore to live and die together, but where there are two flops, they do not
26:56 know us, they do not even recognize us, and relationships were formed, which I did not
27:02 know, from whom the relationship was formed, so there was pain in the beginning, but when
27:07 I went into practicality, and when I thought deeply, then I stopped considering it bad,
27:11 because I felt that they are also right, when I was selling, when I was famous, then they
27:16 worked with me, and should also do, because they spend money on us, they give us money,
27:22 and they have to sell the film, there is a public, there is a public, which buys, so sir,
27:28 your song is not very popular, everything is something else, the owner is something else,
27:34 no, I cannot say that my song is not popular, but there are two types of people who work
27:41 with me, one is the one who lives on his own terms, I am that, I have my own conditions,
27:53 but I also accept the request of the other person, if I am convinced of it, if a man
28:01 convinces me, and I feel that what he is saying is right, then I do not bring ego there, then
28:08 I do not try to dominate there, that because my name is there, because I am Geetkar Sameer,
28:14 then I should prove his right thing wrong, I always listen to him there, and by following
28:20 him, I change my lines, my songs.
28:24 Do you have any problem?
28:26 No, never, because this line, the song that Indiwar wrote, that compromise, do it with
28:31 sorrows, you get sorrows in life, so here without compromise, life cannot work, here
28:38 as I told you that if there is no flexibility, then you will break, you cannot go very far.
28:45 So, to get films, do you have a desire in the singers too, that I should get films?
28:52 Look, these things work in business, my brother, desire means in the singers, the desire to
28:58 get films means that here only one thing works, nothing succeeds like success, if you are
29:10 successful, then the whole world wants you, if your work does not work, and here only
29:18 one talent is in your hand, whether your film works or not, whether your song works or not,
29:25 if your music works, if your song works, then you are the most talented lyricist in the
29:31 world, you are the most good man in the world, you are the most beautiful man in the world
29:38 and you are his best friend, if it does not work, then, there is a very good poem that
29:44 Papa sang, that the world tells the worthiness of a man, when the time is right, everything
29:52 is right.
29:55 So, this is my belief and I have seen it.
29:59 Your father, your father reminded me that when you were completely active, he said that
30:08 you struggle with yourself and you did it, and when you were completely active, then
30:13 he was also very active, so in a way, the atmosphere of a lyricist versus a lyricist
30:17 must have been there.
30:18 No, it was there and I was also accused of a lot of things and people in the initial
30:23 phase felt that brother, because father had become very famous, he had a lot of work,
30:29 so people thought that maybe they want to use me as an assistant, they write themselves
30:34 and want to give Samir in the name of Samir, they want to establish a son, so their name
30:40 was a boon and a curse for me, both were there, the boon was in the sense that people
30:46 respected me, people treated me with great respect, people met me, people heard me, the
30:52 curse was because my comparison with my father was happening immediately.
30:56 Today, like Amitabh Bachchan, Abhishek Bachchan, brother, Amitabh Bachchan made this place
31:00 in 40 years, 35 years, 20 years, now Abhishek Bachchan has come, he will have to work, he
31:05 will have to prove, he has the same quality as gold is burned, so if you do not burn it
31:14 and if you want to see it as bright as it is, then I had to face all those difficulties,
31:20 but it was amazing that there was no use of his name in the essence of work.
31:26 I remember the first time he told Lakshmikant Pyarelal about me, he is my son, he knows
31:33 to write, you make him write, so Lakshmikant told him a dialogue that Anjanji, today you
31:40 have said this thing, do not say it again, otherwise he will not get a job.
31:46 He said why?
31:47 He said that the father's shop is the father's shop and the son's shop is the son's shop,
31:52 let him open his shop and let him do it his way.
31:56 That day and when father passed away, he never said anything to anyone again, once a director
32:03 asked him how your son writes, he said he writes very badly.
32:09 He said, is he his father or his enemy?
32:12 He is saying such a thing about his son.
32:15 He said, no, I think I have not seen a bigger fool than you, why are you asking such a question
32:21 to a father, how can a father say bad about his son?
32:25 I want you to make him write and you tell me whether he writes well or bad.
32:31 So I have gone through all these things and all these problems have come in front of me,
32:36 but from the beginning when I came, I knew that all these things were going to happen
32:42 to me and I was mentally prepared for it and I took myself out of those ways, I somehow
32:50 managed to reach here, I know that or God knows.
32:54 People in the village, in UP or Benaras, people say that you have become a filmy type of
32:59 person.
33:00 No, but it was very fortunate for me that even today when I go to the village, even
33:07 the building where I live, they do not even believe that I am Sameer.
33:12 I have never brought any change in my simplicity, my down to earth nature, my tolerance, because
33:21 I learned all this from my father.
33:24 He always taught me one thing in life that son, always look at life from your perspective,
33:31 never climb up and never come down.
33:36 If you live life at an equal level, then you will never have any problem.
33:41 You should know that these things are to come and go.
33:46 If you are at the top now, then you will be at the bottom now.
33:50 So when you are at the top, if you are in the middle, then you will not have any problem.
33:56 That is why I never believed in thoughts, I never believed in parties, I never believed
34:01 in cars, I believe in only one thing, that is my Karma and my work.
34:06 This is what is going to come to your generation, how do they believe?
34:11 The children who meet me, I have written a book, my biography which is going to be in
34:17 the market in 2-4 days, whose title is "Away with Words".
34:22 When I meet these new children, new people who come to write, new poets, new singers,
34:28 I feel very bad and I sometimes think why they did not succeed.
34:34 You must have seen that from the last 25, 30, 40 years, from where you have handled your
34:39 life, from where I have handled my life, apart from me, there is no name that you can
34:45 say that the name has stayed in the top circle.
34:50 The same Gulyar, the same Javed, the same Anand Bakshi, the same Anjan, even one such
34:55 name has come and gone, which is said to have stayed in a place where it has left its mark.
35:02 So I realize many times, I keep thinking many times, what is the reason?
35:07 So many people, thousands of people come, want to become, want to write and it is not
35:12 that they do not know how to write, they are very good writers, they are better than me
35:16 in writing.
35:17 So what is the reason?
35:19 Then I realized that its biggest reason is practicality and theorality.
35:25 Practicality means that since I was Geetkaranjan's son, then I got all that technicality as a
35:33 gift, as a boon.
35:36 I saw the settings, I learned to write on the tune, I understood the situation.
35:42 Now these new children who come, they are not aware of this technicality.
35:47 They do not even know that this business also has its own language, it also has its own
35:53 technical world, which is very important to know.
35:58 And if they are not aware of it, then they get scared, then the struggle increases,
36:04 then they run away, they cannot bear it.
36:06 So has anyone in your family seen this?
36:09 I cannot say now, the children are very young and God knows what is in the future.
36:16 My children, my family, someone will come into this world, someone will work.
36:20 I have never stopped anyone, I have never refused anyone, because my father did not
36:26 want it, but there was a reason behind it.
36:29 But I have never stopped my children and I will pray, I will be very happy, I will be
36:34 very happy if someone comes in this line.
36:38 [Music]