http://timesofindia.indiatimes.com/articleshow/384051.cms
Says music director Pritam Chakraborty as we question him on charges of plagiarism.
For music composer Pritam Chakraborty of Dhoom and Gangster fame, fame came along with allegations of plagiarism. There's a website that has listed the original sources from where all his popular songs have been 'inspired'. In a candid chat, Lucknow Times catches the music director discussing allegations of copying, copyright act and other important issues.
You have been accused of copying songs like Shikdum (Dhoom) and Ya Ali (Gangster). Now, the details of other songs you lifted (Adaa, Dil samunder from Garam Masala; Tu hi meri shab hai, Lamha lamha from Gangster, Kya mujhe pyar hai from Woh Lamhe, etc) are available on the internet as well. What's your take on it?
It's good and indicates that my work is getting noticed. Earlier, I used to keep a track of who copied from whom. Now others are doing it. It's interesting to be on the other side.
So you accept that you copied from other sources?
I don't deny it completely. But then people have been copying since ages. Anybody who says he didn't is lying. People don't accept it due to the laws. But, when I compose a song I take the responsibility. You can't always blame the producers for demanding it. Though I also maintain that most of the times, 60 per cent of the allegations are false, and charges are very difficult to prove.
So what's your contribution to such songs?
I don't want to sound cocky but mere inspiration doesn't ensure a good song. A good song isn't just about composing, which is just 15 per cent of the entire process. What matters is how you design and present it. Honestly, I'm a better music designer than a composer. I work hard to make even an inspired song sound good. Otherwise sources are available to everybody.
Do you believe in copyrights?
Of course. And if there were an easy way to seek permission to use a copyright, I would have done so. Like I did for Bheegi Bheegi (Gangster). But the lengthy and cumbersome process makes it practically impossible. Even otherwise, Indian legal system is not fair to musicians.
Financial right is something AR Rahman is fighting for and he has even refused a big film. He wants a share of the same for the composers, lyricist and even producers, not just the music companies. What's your take?
Music directors make meagre money while the profit goes to the music companies. Moreover, there is no concept of royalty here. In the West, generations of band members could survive on the royalty money earned from their compositions. If it were to happen here, even I'd do just my compositions and sign only two films in a year.
Moreover, music companies have the money and power, and were able to seek a legal stay on the elections of Indian Performing Rights Society (IPRS) after composers and lyricists won last time. We are nothing but white collared labourers of the music companies.
Finally, how difficult was it to compose music for Dhoom: 2? What kind of music do you prefer personally?
Composing Dhoom:2 was difficult because of the to huge expectation people have from it. But at the same time it was easy, as people have already appreciated the music of its prequel. Personally, I prefer purer and dark romantic music. I like Hum Dil De Chuke Sanam kind of music. I'm waiting for such an offer. Among my own compositions Ankahee is close to my heart. And one album that I found excellent in recent times is Vishal Bharadwaj's Omkara.
Kyunki Saas Bhi Kabhi Bahu Thi 2
