A Quote by Bappi Lahiri

The first film I gave music for was a Bengali film called 'Dadu.' — © Bappi Lahiri
The first film I gave music for was a Bengali film called 'Dadu.'
So my first role was when I was five years old. I had one scene with my mom in a Bengali film called 'Gajamukta.' After that, I thought I'd become Madhuri Dixit.
There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.
I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.
The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted.
I made my first foray into acting with a Bengali film 'Gane Bhuban Bhariye Debo.'
I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.
'Aashiqui' became a cult hit film. It was my first film which gave me not just recognition but stardom too, so I will always remain partial to it.
One of the earliest memories I have of feeling the power of film music was watching Willy Wonka & the Chocolate Factory. That was a really clear epiphany for me, when I realized that each film has its own music, and that there was someone out there who wrote this very specific music for just this one film.
I have worked with a lot of really great women directors: Ana Kokkinos; Cate Shortland, who just recently directed a film called 'Lore;' another director, Rachel Perkins - she's an Aboriginal director, and I've worked with her three times now, and she gave me my first film role, actually, back in 1997.
As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.
I am songwriter. I do compose the music of songs that I write in Bengali. But I've never thought of composing for a film. That's a different art altogether.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
I call it a comedy film, but I feel that is because 'Sholay' is a complete film. It is the best in every aspect. You see the music, the editing, dialogues, action, drama, tragedy, and the emotions of this film and you will find everything is perfect. It is a flawless film.
Between the ages of 18 and 20, I made three hour-long films. One was a superhero film called 'Carbolic Soap.' One was a cop film called 'Dead Right.' And the other was called 'A Fistful Of Fingers.'
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
There was a Yugoslav film about partisans that I've done the music for, and then I've promised to score a French film called 'Biribi' about detention camps at the turn of the century.
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