Rinky Kumar (DNA; January 16, 2018)

Deepak Dobriyal, who was seen in Hindi Medium and Lucknow Central last year, plays a small-time gangster in the just-released Kaalakaandi. The actor is known for his adept portrayal of diverse characters and making a mark through them. He talks about why he is always looking out for roles that create an impact and how artistes like him are enjoying their moment of glory, thanks to the kind of cinema that is being made now.

What prompted you to take up Kaalakaandi?
I did the film mainly because of Akshat Verma. I had seen his writing in Delhi Belly and was impressed by the way he had woven together the black comedy. I felt the script of Kaalakaandi was quite different from the kind of films that are being made today.

You have been a part of movies such as Hindi Medium and the Tanu Weds Manu franchise and shone bright in your supporting roles. How difficult is it to hold your own despite not playing the protagonist?
I never take up a role in terms of whether I’m playing a protagonist or a supporting actor. Even if the duration is short, I feel it should be prominent and I must try to make an impact through it. Some people tend to get carried away and let their persona overtake the roles that they portray on screen but I never do that. I give 100 per cent to each role.

What is it that you look for while signing a film?
I always look for roles that are challenging and where I can learn something new. Also, I want the audience to see me do something different. If I’m not versatile, they will get bored. As an actor, I need to constantly reinvent myself. Over the last few years, the scenario of Hindi cinema has changed drastically. Now, slice-of-life films set in smaller towns dealing with unconventional subjects are being made.

This must be an exciting time for you as an artiste?
Yes, it is not just for me but for all those actors who are talented but haven’t got a break yet. Also, now filmmakers are trying to make movies and actors are keen to take up roles that create an impact on the society at large.

But do you ever wish that this change should have happened earlier when you had just started off?
No, I don’t think that way. Earlier, different kinds of films were being made which had an impact on actors and the audience in a certain way. As a result, it affected actors like me too. After all, change is the only constant. Also, I never look back. I never regret that things should have happened in a particular way. I feel there is a certain time for everything. When an actor complains or becomes resentful, it affects his craft. So, the best thing is to focus on your work and move ahead with the times.

You have managed to strike a balance between commercial films such as Dabangg and unconventional movies too. So, is it a deliberate attempt on your part?
Yes, I want to explore different characters. When you start doing certain kind of roles, the audience, as well as writers and filmmakers, start perceiving you that way. The challenge lies in how I can add my own touch to the character that has been envisioned by the writer-director. When that happens, only then I can break the mould and widen my repertoire. I come from the theatre background where I have done plays of William Shakespeare and Bertolt Brecht etc. Initially, when I forayed into cinema I was a little frustrated. I used to think neither filmmakers nor viewers understood me. But then I told myself that I need to approach things differently and start right from scratch. So, I altered my craft and started working accordingly.

Now, supporting actors like you, Pankaj Tripathi and Seema Pahwa have carved a niche for yourself. All of you are as given as much, if not more, importance than the protagonist. It must be a very rewarding experience for you…
Yes, it’s a wonderful sign that artistes of such good calibre are getting importance. It’s so good to see an actor like Pankaj Tripathi shine in good roles. We have done a couple of films together such as Omkara, Dabangg and Shaurya etc. Moreover, with so many actors enjoying their place under the sun, filmmakers don’t have to be dependent on a few artistes for such roles. They have wider options to choose from.

Are you keen to explore the digital space?
I’m not keen on jumping on the bandwagon as of now. I’m still waiting for the right kind of content through which I can engage with viewers. Web series should be created like cinema, each episode should be made like a film just the way it happens abroad. Look at their writing, camera work, locations, direction, editing, costumes etc. So, their series are successful. Here, we claim to make web series, but actually we are making serials on the digital space.

Nayandeep Rakshit (DNA; January 13, 2018)

Akshay Oberoi knows he isn’t a popular face in the industry. But he’s happy not to be one. The actor admittedly wants to experiment with his roles. He feels the lack of an image helps him try out things that many star kids around wouldn’t even dare to. In a candid conversation, he opens up about what prompted him to take up his latest film Kaalakaandi and how he’s struggled his way this far despite having a filmi connection.

What did you think of your performance in Kaalakaandi, which has just released?
I’m usually over-critical of my performances. But I genuinely liked Kaalakaandi. I feel that it has served the purpose. I’m happy with the final product. I hope everyone likes it, too, and this becomes my first commercial film.

It’s a dark comedy, a space that hasn’t been explored much in Indian cinema. Do you think this movie will push the envelope?
I don’t think many can do it. It’s a tricky space because it’s one thing to cast a film but it also needs to be well-written. I’m really excited to see the audience’s reaction. I hope there are budding script writers who can do the same. But once you read something like this, you think how anyone can actually come up with such stuff, yet make it relatable.

In one of the scenes in the film, you have an awkward fall before making out. In real life, have you faced something embarrassing?
Nothing as embarrassing that has been shown in the film, but I fell off the bed once.

Imran Khan introduced you to director Akshat Verma...
Yes, I took the number from him. And thank God, I did. Somewhere around 2011, there was a shift in Bollywood and things started changing rapidly. I can’t be in a race with the star kids where someone is promoting them. I don’t have that kind of support. I needed to do these interesting films, hence Akshat came to my mind. He’s got a wicked sense of humour which is brilliant for the films he does.

Don’t you feel that because of the kind of projects that you have chosen, the doors of the masala genre may completely shut for you?
It’s true. But now, the scenario is slowly transforming. Films with good stories need good actors to take them across and people have started to realise that. If I get called to do a commercial film, it would be only because of that. I’m not a guy who they can sell but they know my story will get made a certain way. That will eventually add up to the popularity of actors who are like me.

But isn’t the box office important to you?
Yes, it is. I want Kaalakaandi to work well. Because for me to do the kind of work that I want to do, if these films work commercially, then a Gurgaon or a Bombairiya will get a larger audience. I’ve got my validation for my work as an actor. Now, I want to get that validation from my audience at the ticket windows as well.

Would you ever approach a director or a producer to give you a film?
Even after making my debut with a Sooraj Barjatya film, I would send tons of texts to directors to ask if there was a suitable role for me. I would message Karan (Johar), Kabir (Khan) who at least met me and spoke to me. Dibakar (Banerjee) and Aanand (L Rai) sir also responded once. There were few who would not even respond. Once I got a film, I would stop. But after it was shot, I would start again.

That, despite being Vivek Oberoi’s cousin?
No, I don’t think they knew it back then. They might know it now. They always seemed surprised.

So many times people use shortcuts to get a film. Have you ever thought of taking one in desperation?
No. I’m so engrossed with my acting that something like that would kill me from within. At the end of the day, I want to be respected as an actor. Sometimes, you need to figure out what you can live with and what you can’t. I want people to think that I was really good at what I did.

But everyone dreams of the biggest things...
(Cuts in) I wanted to be Shah Rukh Khan! But my priorities shifted after my first film. Two years of growth with no work, I was back to theatre where Makarand Deshpande trained me. I thought I’d never get what I wanted. Then, I did a bit of rethinking and realised that I’d rather be someone like Irrfan Khan because I want to be respected that way. So, I started chasing roles that nobody wanted to do. I kept chasing Bejoy (Nambiar) and thank God, he answered that call. It led to Pizza and a lot of doors opened up after that.

If you have to go nude on screen, due to the demand of the script, would you be open to the idea?
I would be absolutely comfortable doing that. I want people to think that I’m absolutely fearless when it comes to my work. What’s exciting for me is that I’ve no image because my work hasn’t been that popular or commercial enough to give me one. You might say I look a certain way but I’ve done varied roles. Thankfully, I don’t have the trappings of a star. Also, if you look at the movies that I’ve done, there has always been a sex scene (smiles).

How does your wife react to such scenes?
In real life, I am very scared (laughs). But that’s why I love the camera. I can do anything in front of it. My wife has been cool and supportive. It isn’t easy for her. In fact, it bothers me more than her. She knows that I love this job so much that I’m trying to do it well. To be true to my work, I’ve to do the things that are written on the page.

Aarushi Nigam (BOMBAY TIMES; January 12, 2018)

Akshat Verma’s first film as a writer, Delhi Belly (2011), was a product of his Delhi experiences, even though he grew up in the “bubble of Delhi University’s North Campus” where both his parents were professors. His second film, and first as director, Kaalakaandi, is being watched for the same promise of irreverent realism.That irreverence is very much a part of his psyche,with his honest take on cinema,as well as how the country consumes it. This Kirori Mal College (KMC) alumnus, who was also a part of its celebrated theatre society The Players, talks to us about how censorship holds a country back, why we give cinema too much power and also beat it up for our ills, and, given the bountiful usage of cuss words in his films, having to answer that question on cinema influencing youth (by the way, his Delhi equivalent of the Marathi kaalakaandi would be something like ‘bhasad- square’ or ‘bhasad-ganj’, for those interested). Excerpts:

When we interviewed Saif for Kaalakaandi, he told us that one of his younger co-actors said to him that Saif used to be the ‘flag-bearer of this kind of cinema’ at one point. Do you think ‘this kind of cinema’ needs more flag-bearers?
We need flag-bearers because we need them to get these films made. It’s all very well to want to do these things, but if you can’t get someone to believe in it, to say, ‘I want to make this,’ they’re not going to happen.So, we definitely need people who believe in it enough to say, ‘I’m willing to put my name behind it’. I don’t have any particular leaning towards,that only a certain kind of films should be made. I think all kinds of films have enough room to co-exist. We are just a little bit underrepresented. To modify audience tastes too takes a little bit of time and effort. Also,as our audiences are consuming stories and material from all over the world, the bar is shifting. They see what is possible, and they’re also willing to be open to what is possible here, in terms of storytelling. So, the more we can begin to shift the needle by putting more films out, the more interesting it will be for everyone.

The film got 73 cuts from the CBFC, and then was passed by the FCAT with one cut. Speaking about censorship, there are those in the industry who believe it doesn’t matter who is heading the CBFC as long as the guidelines remain the same. Then there are others who say that under different regimes, the CBFC’s interpretations of those guidelines has been stricter or more flexible. Do you think within the guidelines, there is room for interpretation?
Certainly. It was a different time when Delhi Belly came out, they were very open — ‘We’ll give you an ‘A’ with no cuts’. So certainly, there was interpretation. But when we went this time, the officer who was reviewing the film — it was really sweet, actually — said, ‘I really loved your film.’ I was like, ‘Oh, but why these cuts?’ He said, ‘Who I am in a personal capacity is different versus an official capacity, and I have guidelines to follow. So, it’s out of my hands’. But he also said, ‘Feel free to go to the Revising Committee, or the Tribunal’.

So he gently suggested to us that there is recourse. I also don’t know whether there’s a climate... It’s an individual, case-by-case thing. The interesting thing about the Tribunal was that they were so open to looking at it contextually. They said, ‘We see that there are characters who are talking like this because they are who they are, something’s going on, if someone’s under stress they behave differently’. It wasn’t just a blanket thing that we have to be completely cut and dried about this. So I can’t complain. It was a roller-coaster, for sure, but I can’t complain how it turned out. The very fact that this mechanism (FCAT) exists is a good thing.

So who was the CBFC chief during this time?
It was Pahlaj Nihalani, I think it was the last couple of days of his tenure.

Do you also believe that it’s time the guidelines changed?
Absolutely. This is a mindset that holds a country back. When you bring in censorship, you’re telling people what to think, and it’s a fine line to cross to becoming an autocratic state. You have to be able to trust your citizens to let their minds go where they need to. That’s how change happens, that’s where ideas come from. And as one of the youngest countries in the world right now — we have a population of which 60% is under 25 — it’s really important that we don’t hold them back. Creative people, by design, are meant to question and challenge the way things are. And people who don’t — conservatives — are trying to conserve a way of life. There will always be conflict between these two. As an artist, I want to go and look at things,turn them upside down,and ask, ‘Why not?’. If something is not allowed or not kosher to say, we say, ‘No, I want to see what happens’. Because if you can’t explore it in storytelling, then where can you? And that includes desires which might seem not right, plots that might seem illegal — whatever it is, how far can you go? That’s where great storytelling comes from. Censorship affects us as a nation, in terms of quality of ideas and what we can do as a country.

In an interview, you said about the film industry that there is no point trying to overhaul the system, just try to stay in it and make small changes. What small changes have you, and other filmmakers, have made, and has the sum of their parts made some sort of impact?
It begins to add up. When you see films like a Court, or a Sairat, or Masaan...These are cumulative things and they add up. When you look at a large machine, where do you even begin? And there are so many forces vested in the way that machine functions. I can only be responsible for the kind of work I want to do, I can’t go and dictate to someone, why are you making a certain kind of film, they have as much right to do that. So the kind of stories I choose to tell, how I tell them, the kind of performances, how we hopefully connect to an audience,those are the things I can try to do. And hopefully, if it’s demonstrated once, maybe some other filmmaker says, ‘Hey, it’s possible to do this’. So it’s a domino effect, and hopefully, it spreads.

You’ve also said, while describing how you convince producers of something, that ‘every hustle is a small victory’. How often are you hustling?
Oh, you’re hustling all the time. The difference is that production makes films on Excel sheets, and the creative department makes films on final draft and final cut and all of that. At some point if both these departments come together, it can be a fantastic experience. But there’s always conflict. Money can’t be the only leading way to put a production together. Sometimes, you have to find elasticity between your constraints. My desire is to not throw money at a problem,my desire is to solve it with brain power. Even if you have this much money, how do we make it look like it was shot for much more?

Is making a film like Kaalakaandi just a long series of hustles?
Absolutely. That’s why it takes the time it does, because you’re constantly,in a sense,you’re conning people, right, into believing in what you think is right, to bring them to your point of view,and you do it endlessly till you release. In fact, here we are, trying to hustle the audience to come to our film. And with filmmaking, when you’re done and you go back, you start with zero. It doesn’t accrue, it’s not like staying in a job for a long time where you work your way up. It’s like running a marathon,and just because you’ve run one marathon, the next one isn’t going to be a shorter distance. So it never stops.

In reference to a question asked in the film’s press conference, that it has so many cuss words,and ‘gaaliyan humare youth ko galat tareeke se influence karti hain’.All of us know that the language exists, people talk like this. But we don’t want to watch it in our films, or we only want to put this question to the film fraternity. What does that say about us?
Cricket and cinema are, in a sense, our holy cows. There’s a reverence we have for both, which is why we’re so loving and angry at the same time with them. So,when we see characters on screen,that reverence translates. My desire is to bring them down to the way things are, and I think that conflict and tension comes through because people don’t want to...which is strange, because everywhere, I think people want to recognise themselves in the stories.

But there is always a way of thinking, to say, ‘this can’t be like this’. That same head-in-the-sand reaction when a Slumdog Millionaire comes, and you say, ‘this is not like this’. No, but it is. You talk about it, you face it, and then you fix it. We’re lying to ourselves about the way our country is as well. Because we want to pretend, ‘all is well’. Which is the same thing as saying, ‘Indians are not like this. Hum logon ko AIDS nahin hota hai, hum bade bhale log hain...’ No, we’re as messed up and as good as anybody else. We have to embrace our essential humanity, and all storytelling comes from imperfection. You know, when you’re sitting down to write, one of the things they say is ‘make your characters go through hell’. That’s how you find out what they’re made of. In our storytelling, we protect our characters, nothing bad can happen to them, they can beat up anyone... What’s the point?

And when people say, ‘because of this the youth is going to be affected’, I’m like, show me how. Because then the opposite is also true. If I make, say, a Geet Govindam, then everyone should turn into a saint. That doesn’t happen. So, on one hand, you’re giving cinema too much power, but it becomes a whip to beat the movies with. If we could solve the world’s problems through storytelling, through books, through movies, we would have a perfect world. Storytelling is not a way to change the world, it’s a way to understand the world. S**t will continue to happen, the world will always be like this. But when you see why someone did what, that’s storytelling, whether it’s Ulysses, whether it’s Sophocles, or Deewar. The more flawed characters you have, the more room you have for storytelling.

Your short film Mama’s Boys (2016, a modern interpretation of the Mahabharat) also rubbed the right wing the wrong way. But more than three decades ago, there was Jaane Bhi Do Yaaro, about which Naseeruddin Shah, after the whole Padmaavat blow-up, said that the Mahabharat scene couldn’t have been made today. Between then and now, what do you think has changed?
You know, the Mahabharat itself is a political document. Everyone is grey, everyone is sc***ing everyone over, the Pandavas are not really sweet guys, everyone’s stabbing each other. Again, it’s the same reverence — ‘We will now act as if this is a holy document,everyone is holier than thou’. That’s not what that story is. The people who wrote the story about that world recognised that, and that’s why it has survived for so long, because it’s such a truthful, human, document. Now there’s a kind of whitewashing going on, that we’re a certain kind of ideal nation, we’ll whitewash our history, we’ll whitewash our mythology. People who are defending what they’re defending don’t know what they’re defending. When did the Pandavas become gods, number one? If you were to sit down with the people who are making this noise, they can’t defend this. It’s just about whoever shouts the loudest. And whoever is more thoughtful, or trying to make a point, will get drowned out. So again, we’re going away from the essence of who we are.

All this business of changing the names of cities, trying to erase history — we have to embrace the good, the bad, the ugly, everything that has gone on with us historically, because that’s what makes us who we are. It’s like every crazy ex-girlfriend makes you who you are. You don’t want to forget them, because whatever you went through, at whatever point you are in life emotionally, they contributed. So, who we are today as a nation, everyone who’s run amok through us and stayed, it shouldn’t become ‘we’re going to erase you, you never happened. We’ll change the name of this street, change this history’. It’s bulls**t. We are cutting our noses off to spite our faces. There is no place like India in the world, and we are, in a sense, slowly destroying it.

Rinky Kumar (DNA; January 11, 2018)

Akshat Verma shot into the limelight seven years ago with Delhi Belly. Thanks to its whacky humour and unconventional plot, the film was a welcome change for cinegoers. However, rather than jumping onto the bandwagon, Verma, who had penned its story and screenplay, decided to go slow and steady. Now, he is back with Kaalakaandi, which also marks his foray into direction. Starring Saif Ali Khan and an ensemble cast including Deepak Dobriyal, Vijay Raaz, Neil Bhoopalam, Kunaal Roy Kapur, Akshay Oberoi, Shenaz Treasury, and Sobhita Dhulipala, it revolves around three stories set over a course of one night. In a tête-à-tête, the writer-director talks about being inspired by newspaper clippings and why filmmaking is like gambling.

Why did it take you so long to be back with another film?
The way some projects come together is not in your hands. I would prefer working at a much higher frequency. If I could put together a movie every year, I would. But there are so many moving parts to how a film is set up. The primary part is getting the script done. But then, you have to attach a financier, producer and actors. As and when that happens, the project takes shape. Sometimes, despite all these factors coming together, things fall apart. Cinema is as unpredictable a business as any. It’s not a nine-to-five job where you check in every day and stuff happens. It would be nice if it was like that, actually. Kaalakaandi also had a chequered past in terms of how it came together, fell apart and finally happened.

What prompted you to don the director’s hat with Kaalakaandi?
I always intended to write and direct. It’s a matter of how you can make that happen by negotiating with people and bringing them on board to believe in you. Filmmaking is a faith-based enterprise. In the beginning, you are the only one who has any faith in yourself or in the project, then it’s a matter of convincing everybody else to have that degree of belief. Even when you step into direction, it’s the same thing. First, you convince people about the writing and then on how you can execute it with a certain level of technical and emotional finesse.

How did you get the idea for Kaalakaandi?
Its essential core comes from a newspaper snippet that I saw many years ago in the Los Angeles Times. I usually cut out these clippings and paste them in a book because real life seems to be stranger than fiction. You never know when you can take these bits and pieces, connect them and make something happen. This was just sitting in my notebook. After Delhi Belly, I was thinking about what I should do next, when this came to my mind. You start teasing a story out to see where it will go. This one just began to flow.

Over the last seven years, the audience’s tastes have changed as they have been exposed to a wide range of content. Do you think they will receive a black comedy like Kaalakaandi better now?
I’m about to find that out myself, which I think is the reason behind my nervousness. Until the audience and the film collide, you don’t know whether they are going to get along or not. As a director, you do what is true to the characters, and you tell their story. Whether it finds an audience is something that no one can predict. That’s why this business is like gambling. Certainly, the landscape has changed in terms of what and how the viewers are consuming. Today, we have access to streaming services and there has been an explosion in the kind of stories even we are telling domestically. So, the parameter of what is acceptable has broadened.

While Delhi Belly was set in the capital, your forthcoming film is based in Mumbai. How do these cities represent the internal chaos of the on-screen characters?
The DNA of large cities in the world is the same. City dwellers are united by the fact that they reside in metros. Ninety per cent of all metropolises, which have a few million people, are constructed in a similar way, including the energy that they possess and the way they are. The difference between Delhi and Mumbai is that the former has room to expand and grow into a vast, spread out city. The latter, on the other hand, is more packed, so it engenders a different kind of energy. As a result, you can’t buy your privacy. You may reside in a fancy building but when you step out, people from diverse backgrounds and classes will interact with each other. The paths of two people — one who is driving a Mercedes, the other riding a scooter will cross. And this is what gives Mumbai certain fission, the forced contact that brings us together and makes it so much more interesting. In many places, the rich can insulate themselves but in Mumbai, you can’t get around, which is lovely. So, in a way, it is a more egalitarian city.

Was it difficult to handle an ensemble cast in your directorial debut?
Saif Ali Khan was the first person to come on board. But when I sent the script out to people who were on top of my list, everyone agreed almost immediately. Once things started to flow, the dominoes fell rather quickly. In a way, the universe compensated for putting me through hell (laughs). It was a challenge to orchestrate stuff, but that’s normal for any film. We worked hard and shot within 42 days, which is pretty quick for a film in India because here, we tend to have longer schedules. 

How do you perceive the business of cinema right now especially with so many avenues?
I hope these multiple channels provide a sense of adventure in terms of the kind of stories that we want to tell. And that will happen for sure. There is a lot of talent that’s not getting the avenues to showcase its prowess. These channels give them that opportunity.

How did you make your transition from being a journalist to a copywriter to a writer-director?
Journalism was fascinating. It was non-fiction but there was a sense of drama and storytelling in it. Then, I became a copywriter. I was jumping to whatever jobs that would pay my bills and help me do what I enjoyed the most — which was writing. It was a good training ground and a long drawn-out journey, but I was always headed in this direction.

Meena Iyer (MUMBAI MIRROR; January 4, 2018)

The Nawab of Pataudi, Saif Ali Khan, is dressed in his favourite attire — a white, kurta-pyjama. He is in his office, seated on his favourite settee. The atmosphere is crackling with activity because the actor has a release lined up on January 12. And, a super-efficient, young team is brimming with energy and hanging on to his every word. Once, he has finished looking over details of the film campaign, the actor gives me his undivided attention. Over a cup of steaming hot Espresso, we speak about Kaalakaandi, Kareena Kapoor Khan and the future Prince of Pataudi, Taimur Ali Khan.

So Kaalakaandi it is...
Yes, the film is in an interesting space. For a first-time director, Akshat Verma (the writer of Delhi Belly, who has penned and helmed Kaalakandi) clearly knows his mind. I have made a lot of movies with a lot of people. And I have enjoyed the experience of working with Akshat. There are good performances in this film from an ensemble cast that includes Sobhita Dhulipala, Kunaal Roy Kapur, Deepak Dobriyal, Vijay Raaz, Akshay Oberoi, and, of course, me. There are three different tracks but all mix together and become this nicely orchestrated story. I would like to give full credit to my director. And because I’m confident of Kaalakaandi, I requested Cinestaan to come forward and give it a good theatrical release.

Initially, there was trouble with the Central Board of Film Certification (CBFC) right?
The producers — Cinestaan and Ashi Dua Sara — were very understanding. There was a time when after the Censor stress, we thought we should only release the movie digitally. I felt it wasn’t a bad idea because it would be financially rewarding for everyone. The film would stay uncut but having rethought that slightly, it was meant to be seen in theatres. Kaalakaandi is so special that it deserves a cinematic release and, luckily, the producers agreed. We also got fortunate when the Film Certification Appellate Tribunal (FCAT) gave us a U/A certificate with just one cut. That was encouraging, so we said, ‘Great, at least we don’t have to butcher the film.’ We had some anxious moments, but I would say nothing has been lost.

A couple of your recent movies have failed. But would you still say that you are in an interesting space as an actor?
I don’t want to shirk the obvious feeling that it hasn’t been a great last year. However, I would like to start afresh in the New Year. Box office notwithstanding, I have really tried to focus on being a better actor. For some really weird reason, I’m able to understand this craft better now than ever. And you can probably tell that I’m getting better at doing it now. I’ve delivered films in the past, some of which have worked well and some of which have failed. But the important thing at this point is that I’m actually enjoying acting.

A late discovery?
I wouldn’t say it is something I discovered late. All actors go through a certain pattern. Initially, it is all about being a star and a superstar. But, eventually, you start enjoying the process of acting. Like, I discovered, there is more depth to the little things that I had learnt earlier. Now, I’ve learnt to be more patient and calm as opposed to being a slightly hyper personality. Once you start doing that, people lean in and start watching you. These things have taken me a bit longer to understand. They haven’t come naturally. And quite obviously they could only come at this stage of my life and career. It had to be now.

Were you harsh on yourself when things didn’t work out?
Yes. When your film doesn’t run, you get a bit critical. And I went through that. I would say to myself, ‘Oh God, maybe people do not want to watch films that I do.’ Believe me, that is the worst feeling for an actor. But then I thought I’m taking all this too personally. That is also a natural progression of thought. Sometimes when I was at my lowest, I even felt no one is interested in watching anything I do. But then again, I would tell myself — I do think I’m not that important that people have anything against me. Hits and flops are a part of the process. If I’m in the right film and make the right offering, then people will be there to see my movies.

You do admit that your choices in some cases haven’t been truly commercial or mainstream?
You’re right. A lot of what I get turned on by might not be the right offering and that is a curse as well as a blessing. I don’t have a very ‘massy’ brain and I cannot say wow, this is perfect, they are going to love this one in the front benches. Sometimes, yes, I do think it is a commercial film. I admit some of my ideas are niche. But then again, I’m scared to use the word ‘niche’. I do not think I’m niche. Maybe, I’m not comfortable doing what I would find silly. You have got to do it well and if you find something silly, you obviously will not do it well.  Some people can do that kind of comedy really effectively. Having said that, I’ve enjoyed the commercialism of films like Race and Hum Tum.

Weren’t you meant to do Judwaa 2 at one point? Did you watch Judwaa 2 and Golmaal Again?
I haven’t seen Judwaa 2 or Golmaal Again. Both were super-successful films. I know Rohit Shetty is like a modern Manmohan Desai. People tend to belittle the success of films like Golmaal Again but I think there is some depth. Judging by the box office, it obviously has an audience. Coming back to my own choices, I keep asking myself — am I making the right kind of movies with people? I’ve worked with a lot of people who want to change cinema. And this can be slightly dangerous. Sometimes, we should give the audience what they want rather than try to change a mindset. And you know, the guys I work with do not even want to go Hollywood, they want to go European.

The way you are looking, it is evident you are feeling good. Correct?
I’m feeling good. I’m kind of feeling philosophical about life. The struggle is clear. I’m also not giving in too much, into a culinary-sensory pleasured life. I’ve been controlling my diet and exercising correctly. I go to bed on time and believe in staying physically sharp. It is great to have that challenge rather than let yourself go. I’m also choosing the most interesting work that I can. I enjoy this space and age (being 47), quite honestly. I do not want to be anyone else and I don’t compare myself with anyone else. It is a journey and a kind of progression that I’ve been through. I do not want much. I want a creative job that is important to me. I’ve thought about it and if I want that, I also want a fair amount of time off. I do not want to spend it working. And I also don’t want to spend it in pursuit of something intangible.

It is true that your ex-partner Dinesh Vijan and you may get together again?
Dinesh has offered me a film. We met and talked. We have done some good work together in the past and I think we will do some good work going forward.

How does it feel to have a family, many of who are currently on a film set each day?
It’s really nice. Amma works even now. She has a lot of energy and wants to move around all the time. I’m more like my father. I’m happy to read a book on some afternoons. Bebo, Soha and Kunal (Kemmu) have their careers going. Now, we have Sara joining in.

One hears, Ibrahim, too, wants to be an actor?
Yes. Ibrahim, Aarav (Akshay Kumar’s son) and that group of youngsters want six packs and aspire to be Bollywood stars. I don’t know if anyone wants to be an actor. It is kind of disturbing because not everyone makes it. But then what the heck?  Talking of being a star, my wife points out that till a few years ago, even I didn’t want to be an actor, I wanted to be a star (laughs).

Taimur is a media darling...
Yes, I’m aware. He seems to like getting photographed. He is quite like his mother.

Lasyapriya Sundaram (BOMBAY TIMES; January 4, 2018)

Kunaal Roy Kapur’s breakout performance in Delhi Belly (2011) catapulted him into the limelight. Soon after, the actor played significant roles in films like Nautanki Saala (2013), Yeh Jawaani Hai Deewani (2013) and Action Jackson (2014). Now, he is teaming up for the second time with Delhi Belly writer, Akshat Verma, who is making his directorial debut with Kaalakaandi. The dark comedy also stars Saif Ali Khan, Sobhita Dhulipala, Vijay Raaz and Deepak Dobriyal. In a candid chat with BT, Kunaal talks about how not being a big star is liberating for an actor as it allows him to take up a variety of roles, and how despite his family being a part of the industry, they don’t rely on each other professionally. Excerpts...

The roles you have essayed so far have been diverse, but you haven’t really limited your career for the lack of lead roles…
If you get an opportunity to choose roles, you should pick grey characters and not the heroic ones. It’s more interesting to watch grey characters on screen. However, sometimes, people might have difficulty in understanding that an actor is just playing a character and not endorsing bad behaviour. It happens mostly with superstars, who wield immense influence on their fans. In my case, I don’t need to worry about it because I am not at that level. I can play the villain, the lead or even a character role for that matter. In fact, that’s what’s liberating for an actor like me.

Your made your acting debut with a role in the television series, Just Mohabbat. Looking back, how would you gauge the way your career has evolved?
I never harboured any aspiration of a great career in acting. So, every role that I can sink my teeth into is a bonus for me. I hope that I have a long career. I know that there will be some standout performances and some crappy ones as well. Having said that, I am happy with the way things have shaped up so far. Not having a career in the movies would have been far worse.

There was a lot of brouhaha around the profanity-laden dialogues in Delhi Belly. Kaalakaandi also has a lot of cuss words being thrown around. Do you think it’s an intrinsic part of Akshat’s scripts?
Some people categorized Delhi Belly as a film which only has abusive language. Films reflect how people would respond in a given situation. Often, cuss words come out of our mouths in certain scenarios. Isn’t that what dialogue writing is all about? When cuss words are used, it’s scene and character-appropriate. As a writer, Akshat is just staying true to the situation. In the process, he is neither encouraging nor discouraging the use of bad language. In many of our films, the dialogues often ring untrue because they are catering to a family audience and so, cannot be true to reality. However, if you are making a film for an adult audience, the writer should be free to write the way that best conveys reality.

There were reports that the Censor Board wanted 72 cuts in the film...
I think Kaalakaandi was one of the last films that went into certification when Mr Pahlaj Nihalani was at the helm of affairs. We were in a hurry to release the film and so, we went to the Tribunal directly and got the certification.

Kaalakaandi is a dark comedy. It’s a genre that has not been explored here as much as in the West. Why do you think that’s the case?
There are many kinds of comedies that Indians don’t take to, like self-deprecating comedy or the comedy of discomfort. Also, I think we struggle with self-criticism. People laugh at stereotypes, but if the comedy is accusatory or critical, we get sensitive. In a dark comedy, you are laughing at an unfortunate event. If one were to make a joke out of death, it might not be acceptable to many. But with the younger audiences being exposed to a variety of content online, tastes are changing. Kaalakaandi is darker than Delhi Belly, but it’s not blue comedy.

Considering your two brothers (Siddharth Roy Kapur and Aditya Roy Kapur) and your sister-in-law (Vidya Balan) are all associated with films, would you call yourselves a bonafide film family?
I think so. Many people say, ‘Oh, now they have it easy’. What people don’t realise is that I have been part of this for close to 20 years. So, it hasn’t happened overnight. Vidya has had her own journey. She started working in films after doing commercials and TV. Thereon, she went from strength to strength. Aditya also started with television. Siddharth worked his way into films after doing corporate jobs like selling washing powder. We are proud to be working in the film industry in different capacities, but we don’t rely on each other professionally. Our family has not been in the movies for generations, but we found ourselves here and have now become a film family.

Sanyukta Iyer (MUMBAI MIRROR; September 8, 2017)

Earlier this week, Saif Ali Khan hosted a private get-together at his Bandra residence for his director-friends. Present at the brain-storming bash were Airlift-director Raja Krishna Menon, Delhi Belly writer Akshat Verma, TV show P.O.W. Bandi Yuddh Ke’s writer-director Gauravv Chawla, NH10 director Navdeep Singh and Udaan filmmaker Vikramaditya Motwane, along with Saif’s Bazaar co-star Rohan Mehra. Saif’s begum, Kareena Kapoor, and little nawab, Taimur, were in Delhi for the shoot of Shashanka Ghosh’s film, Veere Di Wedding, but the actor played the perfect host, arranging a lavish spread of kebabs and other finger food and the choicest of drinks for his band of boys.

“Conversation revolved around the changing face of Hindi cinema, the future of digital media and the need for unique content. Saif, who has his own production house, is looking to collaborate on projects across mediums and found the discussion very stimulating,” informed a guest present at the dinner. The guests departed late after midnight promising the host that they would sit together again for more such creative sessions soon.

And Mirror has learnt that this was not the first of such meetings. “Saif wants to understand and explore diverse genres and has been quietly building a bank of content, meeting with other filmmakers and writers as well,” the guest added.

Roshmila Bhattacharya (MUMBAI MIRROR; January 17, 2017)

At 46, Saif Ali Khan is in a happy place with wife Kareena and their newborn son and doesn’t feel the need to justify his decision of christening the baby Taimur. While some people have gone back in medieval history to make ridiculous value judgements, the new father has maintained a stoic silence in the face of the Twitter storm.

Opening up on the subject for the first time to Mirror, Saif says, “I’m aware of the heritage of the Turkish ruler and my son was not named after him. He was Timur, my son is Taimur. Perhaps the root is similar but it’s not the same name. Taimur is an ancient Persian name meaning iron. Both my wife and I liked its sound and the meaning. In fact, of all the names I ran by Kareena, she liked this one the best because it’s beautiful and strong,” he says, adding that Taimur was the name of a boy he’d grown up with and a cousin too. “It’s an old family name like Sara who was also named after a cousin I admired.”

Saif points out that even names like Alexander and Ashoka have had a violent history but you don’t have to behave like the person you are named after. Every child makes his/her own history and destiny and he’s hopeful that Taimur too will conquer with love, peace and the good values he and Kareena inculcate in him. “Like me, Saif Ali Khan, he will be international ambassador for his heritage and counter Islamaphobia. When people meet me they are surprised that I’m not a right-wing Muslim, my son too will be a liberal, balanced, open-minded guy,” Saif asserts.

He’s content to have a baby at home who when he holds, reminds him of Kareena. And does his wife share his observation that the baby has taken after her? “Right now he scowls a lot, passes wind and yells so she thinks he’s a lot like me... A cranky, farty yeller!” he guffaws.

Talking about Kareena, she looked glamorous and was glowing through the nine months of pregnancy, becoming a role model for mums-to-be. Saif points out that she could do that because she’s free, mentally, religiously and financially. “We are artistes and rules don’t apply to us. I’m happy she set an example but whether others can follow it or not is a different story. Kareena could do it because at home nobody tells her what to do, rather everyone supports her decisions. She makes her own money and is free to do what she wants with it. Being financially independent is the crux of her freedom. As they say, he who gives money makes the rules,” Saif asserts.

On his part, he informs that the seeds he has planted will bear fruit this year. Rent should start coming in from the property he has invested in, which he hopes will settle him financially. Personally, Kareena and he now have a physical reflection of themselves in Taimur, his two older children, Sara and Ibrahim, are doing well, and the Pataudi palace is being renovated by his mother, Sharmila Tagore, after which he can spend more time there with his family. Professionally, he has three interesting and diversely different films to look forward to, starting with Rangoon, which hits the marquee on February 24.


Quiz him about Vishal Bhardwaj’s Casablanca-like romance, which is set during the Second World War, and he says it’s a film Vishal had spoken to him about during Omkara, though the script has been updated since. “At that time it was a dream to make a film in which production design is as important as the story but cinema has changed since and now you can offer viewers another world from another era. Sajid bhai (Nadiadwala) as a producer recognised it. We’re a bit ahead of the curve but I think Rangoon is perfectly timed,” he states. .

The polar opposite of Omkara’s Langda Tyagi, Rangoon’s Rustom Billimoria aka Rusi is a former action hero who’s lost his hand while doing a stunt and retired early to became a producer. “He’s got a bit of a temper, is a megalomaniac in some ways and whether he turns out a hero or not is part of the excitement of the role,” Saif says, pointing out that Vishal has a tremendous appetite for writing roles that bring out darker emotions like anger, passion and jealousy, which for him is more interesting than the more heroic parts. “The villains have changed, from Thakurs and the indulgent rich to backwardness and mediocrity, Dangal being a case to point.”

For Rusi, he had a reference in his grandfather’s photographs as a young man and Hollywood stars like Errol Flynn. He’s watched a lot of movies and TV shows from the time, fascinated by a chapter in our history when Indian soldiers fought against their own as some were with the Indian National Army (INA) while others fought for the British army. Interestingly, many of the clothes he’s worn in the film are his own because he’s always liked double-breasted suits, along with hats and shoes from the ’40s. “It was a romantic period and cinema, was glorious with the Parsi filmmakers behind the scenes and actresses like Fearless Nadia on screen. People dressed well and everyone smoked because they believed it was good for the lungs. Vishal should appreciate my commitment to the character because despite having given up smoking, I puffed on these little cigarillos because they added a lethal dimension to the character,” he smiles.

Saif today is keen on working with modern-thinking directors like Vishal who make him feel like an actor. “I want to work in every film Vishal makes… I can work on my look, contribute to our cinema in general, and be a part of the forward-looking movement,” he asserts. Is he open to producing films like Rangoon too, you wonder, and he says he’ll go back to production after a couple of years, right now he wants to concentrate on only being an actor. “It’s a privilege to have a creative job and the reason all the glamorous and artistic people move to Mumbai is because it offers so many more opportunities than Delhi,” he maintains.

Saif goes on to speak glowingly about Raja Krishna Menon who could have made a film with anyone after Airlift but chose to make the Indian adaptation of the Hollywood gastronomical dramedy Chef with him, for which he is touched and honoured. “Raja is a meticulous, hardworking, intelligent guy who has taken the idea of a man losing his profession and rediscovering it through a food truck. Simultaneously, he reconnects with his ex-wife and his son. The idea is similar to the Hollywood film but the set-up’s completely different. It was exhausting—lots of practice in the kitchen, lot of travelling from Kerala to Delhi and Amritsar with different cuisines. I learnt to work the wok, chop onions really fast and can cook various pastas. Cooking is therapeutic if you have good music playing and a glass of red wine,” he smiles.

About his third cinematic outing of the year, Akshat Varma’s Kala Gandi, Saif is quick to point out that they might change the title as “it sounds a little rude”. It’s about three different sections of society in Mumbai and how they affect each others’ lives. The upper class converses in English, others in Hinglish, and two mafia dudes in Bambaiyya Hindi. “All the three stories are shot with different cameras to give a distinctive feel to the three worlds which cross-cross but at its core it’s a highly entertaining film with my character on an acid trip. I enjoyed acting for Akshat,” he acknowledges.

Meanwhile, Sara is looking to follow in his footsteps and though Saif admits, given that she was a brilliant student at Columbia University, he’d have liked her to be in a more stable profession where the luck factor didn’t come into play, he doesn’t want to dissuade her, knowing she craves this excitement, creative fun and glamour. “Who’s to blame, it’s in her genes. I remember on the first world tour we were on together, I spotted her peeking through the curtains backstage to watch the actors dancing on stage, mesmerised. That’s when she decided this is what she wanted to do. Cinema has changed since and she’s also realised there’s a lot of angst in the profession, specially if you have not quite arrived yet. I worry about that, but what can I do?” he sighs, sounding every bit like a dad.

He’s available as a bouncing board and for a chat, anytime, if Sara wants him. “If she discusses her profession with me, she will get an opinion, but the decision is hers to make,” he says, adding that he’s relieved she’s with the Dharma camp and Karan Johar will launch her. “Karan is good with newcomers and according to me, he is the perfect person for her.”

Saif doesn’t know if he has been mentioned in Karan Johar’s biography, An Unsuitable Boy, but there’s a reference to Kareena and the fact that if it hadn’t been for a money issue, she might have acted in Kal Ho Na Ho opposite Saif, instead of Preity Zinta. “And then, we would have had a hit together,” he quips. “But I don’t think in those terms though. What has to happen will happen.”

The philosophy extends to his older son, Ibrahim, who, he admits, is also keen on a career in the movies but right now is schooling in the UK and loving it. “But he talks more of rugby and hockey and less about how exciting his academic career is. He’s hidden his report card, I keep asking for it. But otherwise he’s settled well. He’s poised and decent which is nice. Yes, both my kids want to work in films, it’s one of the best jobs in India. I just don’t want them to be disappointed which is why education is a good back-up,” he asserts.

For now though, Saif is happy and considers himself lucky that both his older children, in particular Sara, have always been supportive of his personal decisions. “A lot of it has to do with their mother (Amrita Singh). As far as I’m concerned I have three children and it makes me happy when I see them together and getting along,” he signs off with a smile.

Akshat Verma reacts to right-wing outfits’ call for ban on satire based on the Mahabharata
Sonali Joshi Pitale (MID-DAY; September 12, 2016)

Akshat Verma’s Mama’s Boys, a 16-minute satirical take on Draupadi’s swayamvar, has drawn the ire of right-wing organisations, but the director cannot grasp what’s so wrong about experimenting with humour. “Alternate point of view almost doesn’t exist. Books and films are banned; I don’t know if it’s right for young and progressive India to be afraid of ideas. This is not healthy for us as a nation. It is really unfortunate,” sighs Verma.

Soon after the short film was unveiled online, organisations like Hindu Mahasabha and Hindu Sena sought ban on Mama’s Boys, saying that it showed characters in Mahabharata in poor light. The film is replete with cuss words, sexual innuendos, and also suggests Nakul and Sahadev are gay. Following threats, the makers decided to restrict viewing of the short film on YouTube.

Given the subject, wasn’t the Delhi Belly director prepared for negative reactions? “Actually, I wasn’t expecting it. I looked at it as an epic which has incredible storytelling in the whole of literature. This (Draupadi’s swayamvar) was just a small incident and as a writer, it was fascinating for me to see what we can do with it. I didn’t write it with the intention to offend anyone,” he adds.

Verma is currently working with Saif Ali Khan for a black comedy, Kala Kaanti. He plans to release the film in the first half of 2017.

Lakshmi V (BOMBAY TIMES; August 5, 2016)

Offers seem to be pouring in for Sobhita Dhulipala (Miss India Earth 2013), who debuted in Bollywood with Raman Raghav 2.0. After she was signed by Anurag Kashyap's banner for a three-film deal, we hear the actress has now landed Kaalagandi, which stars Saif Ali Khan. Directed by Akshat Verma (writer of Delhi Belly), the movie has already gone on floors.

While Sobhita remained unavailable for comment, a source associated with the project says, “Yes, she has been roped in for the dark comedy that narrates the stories of different people from various segments of society. She will play the love interest of Kunaal Roy Kapur. After her performance in the Nawazuddin Siddiqui Vicky Kaushal-starrer earned her acclaim, Sobhita got several offers. She liked Akshat's story and signed the project.“

Sanyukta Iyer (MUMBAI MIRROR; July 8, 2016)

It was a working Eid for Saif Ali Khan who is back on the sets of Akshat Verma's comedy crime thriller, the tentatively titled Kalagandi, after a minor surgery on June 30, and has been plodding through 12-hour shoots. On Thursday too, the Nawab was filming on Bandra's Carter Road.

After the exit of a leading production house, actress Anushka Sharma had announced that she would be producing the film under her home banner. Then the film was backed by Bombay Talkies maker Ashi Dua, and now, Saif is on board as a partner-presenter-producer.

The film is a dark, quirky, adult entertainer with three plots running simultaneously through the course of one night. Several actors from Arjun Kapoor to Ayushmann Khurrana had turned down the film because of its bold subject, stating that it was too big a risk. Eventually Saif stepped on board.

His character is the protagonist with Akshay Oberoi as his younger brother. NH10 actor Neil Bhoopalam has a crucial special appearance and will be in a disguise throughout.

There are some graphic intimate moments and scenes with explicit content. "Saif was extremely excited about the film initially and now wants to play it safe and has asked the makers to tone down the content a notch to avoid censor problems. He also believes it needs a new title and the film could be renamed Kala Kanti. A final call is yet to be taken," informs a source close to the development.

After injuring his thumb in an accident on the sets of his next and undergoing a surgery, the actor has resumed shooting for the comedy
Natasha Coutinho (MUMBAI MIRROR; July 2, 2016)

Shooting for Delhi Belly writer Akshat Verma's next, Kala Kanti, which kicked off in the first week of June, came to a grinding halt last week after its leading man, Saif Ali Khan, hurt his thumb in a freak accident and had to undergo surgery.

According to Verma, the shoot is now back on track. "We are shooting as we speak, Saif is back on the sets. We are still trying to figure out our schedule but things are on as planned."

And while the director remained tightlipped on the film's details, a source from the team informed Mirror, "It's a crime-comedy about three men from different backgrounds whose paths cross one fateful night when they unwittingly become a part of a crime. It also features Deepak Dobriyal and Neil Bhoopalam. Neil's character will be sporting a disguise throughout the film."

Deepak who is currently holidaying in Italy confirmed that he's signed the film but is yet to start shooting. Neil also admitted that he was on board while Kunaal Roy Kapur said, "I have been approached for the film. It's an amazing script, quirky, much like Delhi Belly, but I have yet to decide if I will be a part of it."

Sanyukta Iyer (MUMBAI MIRROR; April 29, 2016)

Sanyukta Iyer (MUMBAI MIRROR; December 8, 2015)

After foraying into film production with Navdeep Singh's gritty slasher-thriller NH10, Anushka Sharma will reunite with the filmmaker for a new project and produce two other films which mark the directorial debut of Anshai Lal and Delhi Belly writer Akshat Verma, in the new year.

The 27-year-old actress, currently filming an upcoming romance-drama in London, says that producing films she believes in gives her immense satisfaction, but is quick to add that she has never chased after money and fame.

The actress-producer reveals that Anshai's script is a funny, happy romance with loads of humour. "It's heavy on content and technique. A proper feature film with songs too," she informs.

Her second film with Navdeep is a homecoming of sorts, with most of the NH10 team on board, including writer Sudip Sharma. Buzz is, she will also feature in it. "Navdeep's film is a thriller. I will be acting in any one of the three projects," she says, refusing to divulge which of the three she will feature in.

The third film, with Akshat, is a special one since it has been put together over some time. "It's hilarious!" she promises with a laugh.

Anushka and her brother Karnesh, who are supervising the scripts, had a "jamming session" with their writers and directors a couple of weeks ago, where the group bounced ideas off each other. Soon they will be ready to roll.

The writer will play a director who's making a film with Ravi Kishan.
Avinash Lohana (MUMBAI MIRROR; June 18, 2015)

Akshat Verma, the writer and associate director of Aamir Khan's black comedy, Delhi Belly, will make his acting debut in Pia Sukanya's Bombairiya. The film which co-stars Radhika Apte, Sidhant Kapoor and Akshay Oberoi, has Akshat playing a director on screen too.

"There is a film being made within the film. It stars Ravi Kishan and I'm directing it," he informs, quickly adding that he's not playing himself but a character.

The Delhi Belly writer agreed to be a part of this project as the makers are his friends. "They felt I fitted the part well and since I enjoy trying different things and am comfortable in front of the camera, I agreed. It was great fun. But I hope they got what they were expecting from me in the film," he laughs.

Will we now see him more in front of the camera than behind it? "I don't know," he shrugs. "If something interesting comes up then I am open to doing it. But at the end of the day, I am a writer and a director. That's what I enjoy."

Akshat has already begun work on his directorial debut. It is a quirky comedy set in Mumbai and will be produced by Anushka Sharma. I features her NH10 co-star Neil Bhoopalaam in the lead.

Since Delhi Belly released in 2011 and went on to become a surprise hit, there have been talks of a sequel. "That's not true. I don't know if anybody else is making it, but I am definitely not," he retorts.

Akshat is also developing a mini series, possibly for television or the web because of the nature of it's content. "It's still in the planning stage," he says shortly.

Roshmila Bhattacharya & Ankur Pathak (MUMBAI MIRROR; April 7, 2015)

Ankur Pathak (MUMBAI MIRROR; December 24, 2014)

Mirror was the first to report (July 19) that Akshat Verma, who wrote Delhi Belly, is turning director with a dark comedy based in Mumbai. After working on the script for two years, Akshat had roped in Neil Bhoopalam and Kritika Kamra to play the lead pair.

Now, the studio producing the film has decided to scrap the project after deeming it financially unfeasible.

"The dates of the actors were finalised and the locations were locked. The shooting was to begin in December. However, at the last moment, the studio felt that the film doesn't justify the budget and the project was shelved," said a source in the film's unit.

When contacted, a spokesperson from UTV said: "We did like the script. But since the budget exceeded the amount initially agreed upon, we've decided not to proceed with the film."

Interestingly, this is the second film of Kritika Kamra's to go in cold storage. Previously, she was signed for Ekta Kapoor's Badtameez Dil, which was to be directed by Akshay Roy, but the project never took off.

Ankur Pathak (MUMBAI MIRROR; November 27, 2014)

Akshat Verma, who shot to fame after scripting Delhi Belly, now has a cast in place for his directorial debut. Mirror has learnt that Akshat's film goes on floors early next year and will mark the feature film debut of TV actress Kritika Kamra, best known for Ekta Kapoor's show, Kitni Mohabbat Hai.

She will be paired opposite Neil Bhoopalam, who will be seen opposite Anushka Sharma in Navdeep Singh's NH 10.

A source close to the development told Mirror, "It's a quirky comedy set in Mumbai which will be divided into three segments. After months of screen tests, Akshat has finally found his cast in Kritika and Neil."

The source added that it's an ensemble film and the casting for the rest of the roles is still underway.