Showing posts with label Abbas Tyrewala. Show all posts
Showing posts with label Abbas Tyrewala. Show all posts
Bandra Fort looks great, but that feeling of mystery and romance isn’t there now-Imran Khan
9:42 AM
Natasha Coutinho (BOMBAY TIMES; February 17, 2025)
Mumbai’s iconic Bandra Fort holds many special memories for Imran Khan, who filmed several scenes of his debut film Jaane Tu Ya Jaane Na (2008) at the location. The actor took a stroll down memory lane as he joined us for an exclusive shoot at the famous landmark, which was revamped and reopened. Walking along the fort area, with its garden that now has exotic trees, an amphitheatre area and more, the Bandra boy couldn’t help getting nostalgic and recalling memories associated with place.
‘It felt so organic for our characters in Jaane Tu… to hang around here’
Imran recalled, “My memories go way back before Jaane Tu. When I was 15-16, I used to hang around here with my friends, and at that time this area was desolate. There was just a juice centre here where we would have sandwiches and vada pav, but there were barely any crowds. There would be some questionable folks hiding in the bushes, and we were told not to visit this area. So, there was a sense of adventure each time we came here. When Abbas (Tyrewala) wanted to shoot the film here, it hit home for a lot of us, as even Genelia (Deshmukh) is a Bandra girl. It was our backyard, which is why it felt so organic for our characters to hang around here.”
Imran also recalled that the Bandra Fort was converted into a mela for a song sequence in Milan Luthria’s Once Upon A Time In Mumbai Dobaara.
‘I miss the feeling of quiet this area had earlier’
Speaking about how he has seen the area he has lived in all his life change, the actor says, “It’s a double-edged sword. On the one hand, the place is cleaned up, and there are promenades and street lighting, which make it look great. Now it looks like a park-complex, however, that feeling of mystery and romance doesn’t exist. There was a charm to the old relic. But during my teenage years, Carter Road was a backroad that no one used. You could sit there any time of the day as it was always deserted. I miss that feeling of quiet, today Bandra is the central hub of the city.”
‘If Imara wants to go to a public park, we have to plan it in a certain way’
Imran says his one regret is that he can’t take his daughter Imara to the places he enjoyed as a child. He says at one point he had to have a talk with Imara and explain the situation to her. “She would wonder why people are following our car, so I gradually explained to her that I acted in some movies, so people recognize me. When you have these conversations with a child, you realize how bizarre the situation is. Once you become an actor, part of the contract is that you can no longer wander into public spaces like anyone else. That is an experience I regret not being able to give to my child. If she wants to go to a public park, we have to plan it in a certain way because sometimes people don’t have a sense of consideration around a little child, their excitement of seeing a famous person overrides everything.”
15 Years of Jaane Tu Ya Jaane Na: I am very unlike Aditi now-Genelia Deshmukh
8:28 AM
As the cult film Jaane Tu Ya Jaane Na clocks 15 years, the actor recalls some interesting tidbits
Navya Kharbanda (HINDUSTAN TIMES; July 4, 2023)
In her two-decade-long career, Genelia Deshmukh has done quite a few films, but Jaane Tu... Ya Jaane Na remains among the most special ones for the actor.As the film completes 15 years, Genelia, who played Aditi ‘Meow’ Mahant in the romantic cult classic, says that it was the “casualness, intent of simplicity, emotions and songs that went deep (resonated) with people”.
“Everyone sets out to make a relatable film, but some connections go personal. Jaane Tu.. was a story of a lot of people and youth who’ve lived it or felt it,” shares the 35-year-old.
‘I gave three screen tests before I finally got the role’
While Genelia looked effortless as Aditi, the actor reveals she had to go through multiple auditions and a lot of prep before bagging the role. “When you do a film backed by Aamir Khan (actor-producer), you have to [take] tests to bag it. There were three screen tests I took before finally getting the role. There was a month of reading and hanging out together. All that helped because we (the cast) were friends before we knew it. It was such a natural process,” she shares.
‘Imran was more comfortable with the other girl’
“We were going to shoot the final screen test. I remember Imran (Khan, who played Jai) telling me he was more comfortable with the other shortlisted girl. But when he saw it [his scene with me] on screen, everything changed! It looked like we were the best of pals,” recalls Genelia.
Aditi and Jai... the bond continues
Even though Imran has quit acting, Genelia says they still share a great camaraderie and continue to keep in touch. “Our kids are now in the same school, so we often catch up at the school,” she tells us.
‘80% of the film was shot during night’
For those who’d have noticed, the film was mostly shot in the dark, and Genelia reveals it was director Abbas Tyrewala’s idea. “He used to say, ‘Love happens in the night more than the day’. Everyday, we would pack up at 6 am, chase the night, hoping that the light doesn’t come in. Besides the songs Kabhi Kabhi Aditi and Nazre Milaana, most of the scenes were night sequences,” she recounts.
‘Aditi was close to me back then’
The actor recalls feeling a certain level of relatability between her real life persona and Aditi. But, she doesn’t feel the connect anymore. “She (Aditi) was a firebrand; someone who spoke her mind. I was young and went in with no makeup, all natural. So, it was just me and how I was. But today, I am different because I think before speaking,” says the mother of two, admitting that while now, the film has attained a cult status, back then, “I didn’t even know what was happening”.
Makers focus on songs that play a role in marketing instead of those that take a story forward-Abbas Tyrewala
8:16 AM
Accompanied by Chandan and Abbas while discussing The Playback Singer, composer Mohan on his tryst to find a singer who could convincingly trace the protagonist’s journey from being a novice to a skilled musician
Sonia Lulla (MID-DAY; May 15, 2023)
In what may best be termed as a glimpse into the collaborative conversations that take place within the studio as they join hands for The Playback Singer, Chandan Roy Sanyal, Mohan Kanan and Abbas Tyrewala pique curiosity with the promise of transporting us back to the ’90s as they narrate a tale of music and ambition.
In this interview, they discuss the making of the project that promises to present a musical that film aficionados will remember.
Edited excerpts from the interview.
Chandan, you’ve stated in past interviews that you believe the genre of romantic musicals has gone amiss. What do you think has gone wrong?
Chandan: I wouldn’t say anything has particularly gone wrong. When I was growing up in the ’90s, and wasn’t exposed to world cinema, my father would listen to music by [Mohammed] Rafi, Kishore Kumar, and Manna Dey. It was always about music, and story-telling through music. If the music isn’t good, audience members would sneak out for a smoke, return and say that they couldn’t comprehend the film. That [magic] is now missing. Now, it’s all about collaborations. You never have two hands come together to take a story forward, in the way that Mohan and Abbas have come together. It’s all about understanding what the character feels, and how they take the story forward.
Mohan, as a musician, you would probably have an opinion on the best way to approach a musical?
Mohan: Chandan had involved me in the production work right from the beginning; it has been six years now. Abbas and I have worked together in different capacities; as co-musicians and a director [and composer] too. In this film, the storytelling goes ahead with music. We are back to lip-syncing. Casting a singer has become important, like it was in the past. For instance, if Kishore Kumar sang a song for an actor, it appeared that that voice belonged to that actor.
Chandan: When Mohan would explain [a song] to the singer, I could see him help them understand its emotion. A singer may be skilled, but to help them find the voice of the character is a different process. That’s what you will get to see in this film. The characters blend with the music, which blends with the story, and the film.
What was the difference in your approach to creating music for the ’90s?
Mohan: In ’92, cassettes were on the way out, and CDs were in. In the ’80s, people started to record singers and musicians separately. That was a change that began to happen. Also, A R Rahman entered the industry then, and changed its soundscape. With Roja, not only did he introduce a distinct south Indian flavour to music, but there was a difference in the production too. For me, this was exciting. I’d keep telling Chandan that [we could divide the music of the film] into pre and post Rahman. That was an idea I held in my mind. I was excited to show such a varied soundscape.
To highlight my point further, I’d discuss casting the [voice for] the lead female character, Suman. We are showing her journey from being a less confident singer, with a raw voice, to one who goes to auditions, and finds her place on the [stage of the finale round of a competition]. I had to find a singer who could do justice to this journey with her voice — showcase rawness in the early part of the film, and then mould it into a mature voice as she became better. This was tough, because it’s tough to fake that and make a singer sound bad, deliberately. So, I had to make a composition that was not in the singer’s comfort zone, so that she could sound raw, but good.
Abbas: In commercial cinema, it is not like we don’t have musicals. But, [makers focus on] songs that play a role in marketing instead of those that take a story forward. Now, we consider a film a musical if it has popular songs. But this may not be accurate. Our film, of course, is one that uses music to take the story forward. Working on it has hence been enjoyable.
To give you an example of how we are approaching it, we have been discussing our take on one of the songs, which will be in either Malayalam or Tamil. We are considering how we should approach the song-writing for the translated Hindi version. The lyricists then, were not very accomplished, so, the writing wouldn’t sound as polished as a piece written by Gulzar would. We are wondering if our translation should hence be one that doesn’t seem polished or well-rounded, as it was then. We aim to capture the same feel. That is an enriching process.
Mohan: Also, we are trying to create a back story for each song. In one [of the early] scenes, she sings for a few people on her terrace. We’ve given thought to why she would sing that song, which is one that her grandmother would sing to her. And the reason is that because it’s a song she has known since her childhood, she’s comfortable singing it. As the film progresses, and her personality changes, you can see her become confident and ambitious. At that point of time too, we have thought about why she would select the songs that she does.
Since this film tells the tale of a female protagonist, was there ever the need to get a female musician’s input for the music or the narrative?
Abbas: I came on board late, but, I think Chandan and Mohan would not have thought about it in terms of selecting a male or female [writer]. It’s an interesting question — to consider if a female lyricist would capture something about the [protagonist’s] frame of mind, but as a storyteller, I’d like to think I am accomplished in telling the stories of women too.
Mohan: When we jammed with the singer, we could see her character [shine]. When she rendered it, the song was built differently too; it took shape. The singers I know are extremely talented. When they come on board, they add character to a song in every way.
Is there something else with regard to the music-making process that you’d like the readers to know about?
Mohan: We want to release the songs in the same order that they appear in the film, so that the viewers can understand how the film proceeds. We also don’t want the process to become too intellectual where the emotions get [camouflaged]. This is also my tribute to a lot of the artistes I have grown up doting on, like Rahman, Jagjit Singh, and Ilaiyaraaja, among others. For me, to create something that pays tribute to them, without aping them, is gratifying.
With Shah Rukh and Salman Khan's scene in Pathaan, we had to make sure audience didn’t feel cheated-Abbas Tyrewala
8:34 AM
That’s how Abbas Tyrewala managed to write dialogues for Pathaan, which are witty and snappy, except for the scene between SRK and Salman
Aastha Atray Banan (MID-DAY; February 6, 2023)
We tell Abbas Tyrewala, we are curious about Jim’s lines. The villain, played with easy amusement by John Abraham, has the best of the lot. He starts off saying something, and then by the end of it, the punch line has changed.
“We created an erudite villain, with so much sympathy built from his back story [he and the family are abandoned by Indian authorities]. Today, he is a sociopath. So, it’s hard not to hate him. The character is fascinating, and it’s him I wrote the lines for, not John per se. After that’s done, I think of John, so that can I embellish the lines in some way. That’s why a sense of surprise in the dialogues exists. The mistake some in Bollywood make is to think of the actor, not character. Let’s be excited about the character.”
Tyrewala’s excitement shows. Jim’s dialogues are amusing and relaxed all of once. “He has turned his pain into mockery for the world. It’s his justification for everything that he does.”
To us, the lines also appear to match Gen Z lingo without being corny. “Sometimes, jyada ho sakta hai. You could cross over. But that’s why we rewrite. Audiences are coming to the film to be entertained, so you must strike a balance. Over time, experience teaches you to be in control of your craft.”
It’s this experience that saw him deftly handle the scenes where both Khans—Salman and Shah Rukh—share the screen. How does one not overshadow the other? “It’s delicate. It’s Shah Rukh’s film. It’s called Pathaan. But it’s Salman [who is also in the frame], and Tiger [Salman’s character from his spy franchise] has taken the trouble to come here [in this film]. We had to make sure that the audience didn’t feel cheated. It’s not about catering to actor egos, it’s about the audience experiencing the joy of watching the two interact. I followed Aditya’s and Siddharth’s brief and wrote words that would enhance what they wanted to do with those scenes.”
I'm lucky that Priyanka Chopra backed me-Paakhi Tyrewala
8:03 AM
Debutante
director Paakhi Tyrewala talks about taking her Sikkimese film, which
is produced by PeeCee, to the Toronto International Film Festival
Natasha Coutinho (MUMBAI MIRROR; September 1, 2017)
Priyanka Chopra’s Sikkimese production, Pahuna, which marks the directorial debut of Paakhi Tyrewala, will have its world premiere at the Toronto International Film Festival (TIFF) on September 7. It’s India’s first feature film in Sikkimese to be selected for the prestigious fest.
“Priyanka wanted to greenlight a film industry in Sikkim even though it didn’t make sense monetarily. We worked with untrained actors who underwent extensive workshops with my mum, Veena Mehta, a National School of Drama graduate,” informed Paakhi, adding that her film is about children but not just for them.
“The Toronto premiere news didn’t sink in for two weeks but that’s again where Priyanka comes in. I didn’t want it to be just a regional film; it had to be world cinema. PeeCee said she would take it places and has followed through on the promise. Both of us will attend the premiere along with her mother and coproducer, Madhu Chopra,” she said.
When asked about her rather unusual choice for a debut film, when most filmmakers go for commercial fare, Palki admitted that she had been tempted to go the commercial way too. “There is a script that everybody loved which I will be doing next, a mainstream romance-drama. I had promised myself 13 years ago, when I was living in the Northeast, that I would make a film for Sikkim. If I’d made a commercial film first and it hadn’t done well, there’s no way I’d have made a film like Pahuna next. I was extremely lucky that Priyanka backed me,” Paakhi reasons.
Did her husband (Abbas Tyrewala, whose directorial debut coincided with Imran Khan’s acting first Jaane Tu Ya Jaane Na) have inputs? “Abbas is involved at every step. I go to him with a script, showed him the edit even before the producers. He’s also my teacher, I was his first assistant. I learnt writing from him before we fell in love and got married. He’s still my mentor,” she revealed.
Priyanka Chopra’s Sikkimese production, Pahuna, which marks the directorial debut of Paakhi Tyrewala, will have its world premiere at the Toronto International Film Festival (TIFF) on September 7. It’s India’s first feature film in Sikkimese to be selected for the prestigious fest.
“Priyanka wanted to greenlight a film industry in Sikkim even though it didn’t make sense monetarily. We worked with untrained actors who underwent extensive workshops with my mum, Veena Mehta, a National School of Drama graduate,” informed Paakhi, adding that her film is about children but not just for them.
“The Toronto premiere news didn’t sink in for two weeks but that’s again where Priyanka comes in. I didn’t want it to be just a regional film; it had to be world cinema. PeeCee said she would take it places and has followed through on the promise. Both of us will attend the premiere along with her mother and coproducer, Madhu Chopra,” she said.
When asked about her rather unusual choice for a debut film, when most filmmakers go for commercial fare, Palki admitted that she had been tempted to go the commercial way too. “There is a script that everybody loved which I will be doing next, a mainstream romance-drama. I had promised myself 13 years ago, when I was living in the Northeast, that I would make a film for Sikkim. If I’d made a commercial film first and it hadn’t done well, there’s no way I’d have made a film like Pahuna next. I was extremely lucky that Priyanka backed me,” Paakhi reasons.
Did her husband (Abbas Tyrewala, whose directorial debut coincided with Imran Khan’s acting first Jaane Tu Ya Jaane Na) have inputs? “Abbas is involved at every step. I go to him with a script, showed him the edit even before the producers. He’s also my teacher, I was his first assistant. I learnt writing from him before we fell in love and got married. He’s still my mentor,” she revealed.
My wife Priyanka rules my world-Rannvijay Singha
7:46 AM
Chaya Unnikrishnan (DNA; June 3, 2016)
Rannvijay Singha started his TV career as a contestant
on the first season of Roadies and then went on to host it. He also did
several other reality shows like Splitsvilla and Squad Rann, which
became hugely successful. However, his foray into films with London
Dreams was followed by Action Replayy, Mod and 3AM haven't exactly set
his movie career rolling in a big way. Here he talks about what keeps
him rooted to television, his interest in web series and more.
What keeps bringing you back to Roadies and Splitsvilla?
I was 20 when I did the first show of Roadies. I started my journey with it, I have grown up with it. The show's an integral part of me — all the adventure, travel, meeting people who want to prove themselves, realising their potential... I like that journey and I myself get to do crazy things. I started Splitsvilla with Raghu and Rajeev producing it and then we handed over to other people. Last year, I came back co-hosting the show with Sunny (Leone) and it did well.
Doesn't a feeling of deja vu set in?
Definitely, because you see the same kind of thing happening between two-three people that has happened before. If I was a CEO of a bank sanctioning things, getting a deal done everyday, then it would be monotonous. Here even though I am doing the same thing, I am dealing with different people in different settings and in different countries like Brazil, Australia, Africa, Bhutan etc. That's the reason Roadies is on for 13 years and Splitsvilla for nine years. Every season we give it to a different creative team, which brings in their own personality. We keep changing ideologies and theories and keep it exciting.
Between Roadies and Splitsvilla, which would you choose?
Roadies. But this year Splitsvilla is unique with the theme where women rule. Ours is not a developed country and things are not the same for men and women. Our show being targetted at youth will impact them. I am seeing a lot of contestants who are respectful and chivalrous, the kind women would want as their ideal men. Indirectly, millions of kids watching them will realise this is the way to be with women. Though it's an entertainment show, subconsciously it will be engraved on their minds. In Roadies when I chose my team, out of five people, three were girls - I wanted to show that you don't need boys to win. And this is the need of the hour in our country. Through the show we want to tell the world that women should be treated as princesses.
Who rules your world?
My wife (Priyanka) rules my world!
Since you have been dealing with the youth in your shows, have you seen any changes in the generation over the years?
Yes, now the youth is more passionate about what they want. They are not happy with 'hogaya toh sahi, nahi hua toh sahi' attitude. They want to win respect among core groups, family and friends. They have seen how good their lives can be if they achieve something — they can get to host shows, foray into films, etc. So they are over ambitious and over possessive, but it is not bad when compared to the youth that is being lazy.
While you are a big name in reality shows, why you have stayed away from fiction after Pukar?
I would love to that kind of fiction which has a definite ending. Pukar was only for 24 episodes with a start and end. Also, I have done a few films with Vipul Shah who had directed the series. Even the serial was shot like a film and people like Raj Babbar and Adah Sharma were associated with it. I am not interested in the other kind of fiction shows where the story stretches — even if you watch it after 10 days, you'll find it hasn't moved. I would rather do a web series, which is edgy and fast-paced.
Are you doing a web series?
I am working on it. I have one called Squad Rann which is about adventure and sports. It's aimed at making the youth active. Even my brother Harmeet Singha is doing a series Aisha.
What happened to the film Mango in which you have worked with your brother?
Only Abbas Tyrewala will be able to tell you about it, but yes it was an amazing experience working with my brother. He is five years younger to me and would always be with me. Working with him was like a natural experience though he doesn't play my brother in the film.
Though you were part of several movies, none of them clicked in a big way. Is that the reason you have veered more towards TV?
My first movie, London Dreams released in 2009 and I was lucky enough to share screen space with Salman Khan and Ajay Devgn. I have been getting offers, but a few scripts have intrigued me enough to be a part of the movie. Of course, television is my first love and I will keep going back to it. I am what I am because of Roadies. I have done shows like Squad Rann and Rann VJ Run and I think television certainly reaches a wider audience as compared to movies.
What prompts celebrities to take police action against their peers
8:04 AM
Asira Tarannum (MID-DAY; May 3, 2014)
Advocate Rizwan Siddiquee, who is representing Sunny Leone, says, “It is indeed shocking to note that despite filing an FIR against Kamaal R Khan more than a year ago under Sections 500, 504, 509 of the Indian Penal Code 1860 and Section 66(A) of Information Technology Act, the police seems to have taken no serious cognizance of the complaint, as a result of which, Kamaal R Khan has apparently once again sought to harass my client without any fear. This has now become a very serious issue and shows the functioning of the police in a poor light. I am therefore constrained to issue a final notice to the police to take immediate cognizance of these offences. If the police fail to perform its duties, then I shall be constrained to file appropriate proceedings against the department besides starting proceedings against Kamaal R Khan.”
Bollywood celebrities taking potshots at each other is one thing, but filing cases or complaints against one’s peers is another matter. hitlist takes a look at instances where film personalities were under legal attack from their colleagues…
Kangana Ranaut and Aditya Pancholi
Kangana’s affair with Aditya Pancholi came out in the open when the former filed a police complaint against him for physical abuse. The actress was dating the actor-turned-filmmaker despite knowing that he was married to yesteryear actress, Zarina Wahab.
Apparently, it all started when Ranaut found support in actor Aditya Panscholi and his wife Zarina Wahab, who she then considered to be her ‘family away from home’. At first, Ranaut declined to speak about it openly, despite making several public appearances with him.
In 2007, it was reported that Ranaut had filed a police complaint against Pancholi for physically assaulting her under the influence of alcohol. The following year, Pancholi confirmed the affair in an interview, saying that he had co-habiting with Ranaut in the past. He also accused her of owing him money to the tune of Rs 2.5 million. In response to these allegations, Ranaut’s spokesperson had said, “ After physically assaulting her in the middle of a road, he has no right to expect anything from her. Besides, she has already given him Rs 5 million.”
Abbas Tyrewala and Preity Zinta
On September 12 last year, the local metropolitan magistrate’s court at Andheri issued a nonbailable arrest warrant against Bollywood actress Preity Zinta in connection with a cheque bouncing case. The complaint was filed by Abbas Tyrewala, dialogue writer of the 2013 movie, Ishkq in Paris; Tyrewala went to court claiming that a cheque of Rs 18.9 lakh had bounced. In her defence, Preity said that she had made the payment due to him.
At its last hearing, the court imposed a fine of Rs 5,000 on Preity Zinta for non-appearance and a non-bailable arrest warrant was also issued, since she did not turn up in court for the hearing. In a setback to the actress, the Bombay High Court refused to quash proceedings against her asking her to face trial.
Sofia Hayat and Armaan Kohli
Actor Armaan Kohli was arrested in December last year for allegedly assaulting British- Pakistani actress Sofia Hayat during their stay at a Lonavala bungalow for the shoot of reality show, Bigg Boss. Kohli was then picked up from the Bigg Boss house by Lonavala city police. It seems that Hayat, who was evicted from Bigg Boss 7, filed an FIR against Kohli at the Santacruz police station. She alleged that she was manhandled and subjected to unparliamentary language by him inside the Bigg Boss house.
Tusshar Kapoor and Samir Karnik
Tusshar has filed a police complaint against director Samir Karnik for misappropriation of funds amounting to nearly Rs 1.7 crore. Tusshar had taken legal action against director Samir Karnik apparently due to nonpayment of Rs 1.75 crore for his promotional work for the film, Chaar Din Ki Chandni ( 2012).
Furthermore, it is said that a cheque given to the actor, that was part payment for the film, had also bounced.
Pulkit Samrat and Ekta Kapoor
Pulkit Samrat, who was popular for his role as Lakshya in Kyunki Saas Bhi Kabhi Bahu Thi, was once a favourite with Balaji Telefilms. But later, the actor filed a case against the production house over nonpayment of dues and for not allowing him to take up projects from other production houses.
Natalie Portman and Saif Ali Khan
In July 2012, Natalie Portman sued actor-producer Saif Ali Khan, after he announced that they would collaborate on a Hindi film. Khan later clarified that he was joking, and had started the rumour in response to constant media reports on his personal life. The actor had clarified saying, “It was a joke, I am sorry. It’s just that I am very annoyed with speculation on all aspects of my life. If this goes on, I might just start making up stories like these to entertain myself. Hope people will understand that.”
Past squabble
When BR Chopra sued Madhubala
During the filming of Naya Daur, the film was dogged by a highly controversial and widely publicised court case. Initially, actress Madhubala was cast as the female lead. An advance payment was given to her and shooting went on smoothly for 15 days. B. R. Chopra, the director, wanted the unit to travel to Bhopal for an extended outdoor schedule. But Ataullah Khan, Madhubala’s father, objected to this and claimed that the Bhopal schedule was a ruse to give Dilip Kumar the opportunity to romance his daughter (Kumar and Madhubala were in a relationship at the time). Finally, Chopra sued Madhubala to seek a refund of the advance she had received from him. He then replaced her with the South Indian actress Vyjayanthimala who had earlier acted with Dilip Kumar in Devdas. Madhubala supported her father despite her commitment to Dilip Kumar, who then testified in favour of BR Chopra. Madhubala and her father lost the case amid much negative publicity. However, once the film released and became a hit, Chopra dropped his charges to save Madhubala from the humiliation of what could have been a prison sentence.
Preity Zinta refutes reports about leasing out her flat
9:26 AM
BOMBAY TIMES (February 10, 2014)
In response to the report of Preity Zinta looking to lease out her place in Quantum Park, Khar (W), the actress maintains, “I’ve lived here for about a decade and I’ll continue staying here. I’m not moving out of this place, so the question of leasing it to anyone doesn’t arise.”
Preity was in a queue for her Aadhaar card registration when she received our text asking if there was any truth in the reports of her flat being leased out. She couldn’t revert on time. However, she did get back the next day.
The actress’ dispute with Abbas Tyrewala is on in the court of law. He reportedly maintains that he hasn’t been paid for his work as dialogue writer for her production, Ishkq In Paris. The cheque for 18.9 lakh that the actress issued to him, bounced. Preity herself is not keen to talk about this matter because it is subjudice. However, her friend states that when Abbas was issued a cheque, he didn’t deposit the same. “The film has released and Abbas hasn’t proved which dialogue he wrote. Preity has about 80 people working for her, and every one of them is paid on time. So why would Abbas not be paid if he had done the work? Also, why should he be paid if he hasn’t done any work?”
GTPM-OUATIMD's failure raises questions about Imran Khan's box- office viability
9:53 PM
Okay, so Pappu by his own admission couldn't dance in Jaane Tu...Ya Jaane Na, but that didn't make Imran Khan any less popular. Five years ago, he was the campus poster boy. In 2012 he featured in a leading men's magazine's list of Bollywood's 11 Best-Dressed Actors. This year he ranked 40th on Forbes' Celebrity 100, a list based on the income and popularity of India's biggest entertainers.
But today, with two films, Once Upon A Time In Mumbai Dobaara and Gori Tere Pyaar Mein, tumbling like ninepins, Imran is suddenly out of step with the times.
Abhinay Deo, Imran's good friend
who directed him in Delhi Belly, says that Imran needs to do his
homework before he starts shooting. "We did an extensive
three-week prep before Delhi Belly rolled, he was super in the film. You
can't entirely blame him for his recent failures. I think he is a lambi
race ka ghoda who has moved from chocolate-boy roles to experiment with
films likeMatru Ki Bijlee Ka Mandola and OUATIMD. He just needs to find
one right film and he'll outshine the other heroes," Deo asserts.
Exhibitor Manoj Desai also believes Imran's films are not clicking because he hasn't got the right roles. "He has good screen presence but has yet to deliver a great performance," he reasons.
Trade analyst Amod Mehra says,"Imran is hit by wrong selection of films and he is depending on the filmmakers to see him through."
Mahesh Bhatt hasn't seen any of Imran's films but argues that no actor decides a film's fate. "That responsibility rests squarely on the filmmaker," he maintains.
Ali Abbas Zafar, his Mere Brother Ke Dulhan director, echoes Bhatt's opinion, saying an actor is a blank canvas and the director paints on it. He says Imran's character in his rom-com, a guy who falls in love with his elder brother's wife-to-be, could have easily been perceived as negative had it not been for Imran's vulnerability. "He's a cultured guy with a certain masoomiyat and a clean public image. This made it possible for him to convince everyone that despite this one indiscretion, he was a good son, brother and friend. That's what worked for my film," says Zafar refusing to write him off. Ramesh Sippy, who distributed OUATIMD, however argues that the box-office figures of his films tell their own stories. "An actor who does not deliver 85 per cent collections should not be labelled as a star. Imran does not generate heat on his own," he avers.
Another distributor, Vinay Choksi, agrees that the audience seems to be rejecting Imran's films even though Gori Tere Pyar Mein seemed like a good fit; a love story targeting the youth with Imran playing a foreign-returned architect, a role tailor-made for him. "It's the same with Shahid Kapoor. Today, more than a solo-hero-film, Imran should go for a two-hero project," he reasons.
But Abbas Tyrewala who directed Imran's debut film Jaane Tu Ya Jaane Na, rationalises that "ups and downs are a part of everyone's career".
Deepak Sharma, COO, PVR Pictures, which co-produced Jaane Tu... agrees that a couple of nonstarters will not make a difference to the young actor. "Many of those who have seen Gori Tere Pyar Mein have liked the film, yet people are not coming in to watch it. You can't blame the actor for that, can you?" Even though PVR is no longer producing films, Sharma says that he is ready to put his money on the actor. "Our Jaane Tu....was a superhit, there's no reason to think we can't give another hit with him."
We sent a detailed text to Imran but the actor chose not to respond.
Exhibitor Manoj Desai also believes Imran's films are not clicking because he hasn't got the right roles. "He has good screen presence but has yet to deliver a great performance," he reasons.
Trade analyst Amod Mehra says,"Imran is hit by wrong selection of films and he is depending on the filmmakers to see him through."
Mahesh Bhatt hasn't seen any of Imran's films but argues that no actor decides a film's fate. "That responsibility rests squarely on the filmmaker," he maintains.
Ali Abbas Zafar, his Mere Brother Ke Dulhan director, echoes Bhatt's opinion, saying an actor is a blank canvas and the director paints on it. He says Imran's character in his rom-com, a guy who falls in love with his elder brother's wife-to-be, could have easily been perceived as negative had it not been for Imran's vulnerability. "He's a cultured guy with a certain masoomiyat and a clean public image. This made it possible for him to convince everyone that despite this one indiscretion, he was a good son, brother and friend. That's what worked for my film," says Zafar refusing to write him off. Ramesh Sippy, who distributed OUATIMD, however argues that the box-office figures of his films tell their own stories. "An actor who does not deliver 85 per cent collections should not be labelled as a star. Imran does not generate heat on his own," he avers.
Another distributor, Vinay Choksi, agrees that the audience seems to be rejecting Imran's films even though Gori Tere Pyar Mein seemed like a good fit; a love story targeting the youth with Imran playing a foreign-returned architect, a role tailor-made for him. "It's the same with Shahid Kapoor. Today, more than a solo-hero-film, Imran should go for a two-hero project," he reasons.
But Abbas Tyrewala who directed Imran's debut film Jaane Tu Ya Jaane Na, rationalises that "ups and downs are a part of everyone's career".
Deepak Sharma, COO, PVR Pictures, which co-produced Jaane Tu... agrees that a couple of nonstarters will not make a difference to the young actor. "Many of those who have seen Gori Tere Pyar Mein have liked the film, yet people are not coming in to watch it. You can't blame the actor for that, can you?" Even though PVR is no longer producing films, Sharma says that he is ready to put his money on the actor. "Our Jaane Tu....was a superhit, there's no reason to think we can't give another hit with him."
We sent a detailed text to Imran but the actor chose not to respond.
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