Showing posts with label Amit Sharma interview. Show all posts
Showing posts with label Amit Sharma interview. Show all posts
Team Badhaai Ho overjoyed at the film’s success at National Awards
8:16 AM
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Divya Kaushik and Abhimanyu Mathur (BOMBAY TIMES; August 11, 2019)
BEST POPULAR FILM PROVIDING WHOLESOME ENTERTAINMENT
Badhaai Ho
BEST SUPPORTING ACTRESS:
Surekha Sikri for Badhaai Ho
Junglee Pictures’ Badhaai Ho has won multiple accolades at the 66th National Film Awards. Not only did the film win the National Award for the Best Popular Film Providing Wholesome Entertainment, but Surekha Sikri, who played the character of Ayushmann’s grandmother, also won the Best Supporting Actress award.
Badhaai Ho was a comical take on the sensitive subject of parental pregnancy and earned over `200 crore at the box office, garnering popular appreciation as well as critical acclaim. Elated by the recognition that the film has received, producer of the film and Times Group MD Vineet Jain, says, “Junglee Pictures has always believed in telling impactful stories in the most engaging manner. This recognition, in the form of a National Award, is truly gratifying. I am proud of the team for putting together such a delightful yet meaningful film.”
DISTINCTION BETWEEN OFFBEAT AND COMMERCIAL DOESN’T EXIST ANYMORE: AMIT SHARMA
The film’s director Amit Sharma sees the win as a validation of the entire team’s hard work. “It is a validation of what I set out to do — make a family film on a subject that some would consider offbeat. Five years ago, people would have called it an offbeat film, but this award proves that films are films. The distinction between offbeat and commercial does not exist anymore,” he says.
He also says the news came as a pleasant surprise. “Expectation waise toh har cheez se hoti hai, but honestly, I hadn’t expected this. God has been really kind and I’m happy that people have loved the film. The critics and the jury have loved it, too. It’s really overwhelming. The business a film does is important, but at the same time, the awards are important, too. When I first heard the news, I couldn’t control my emotions and was completely silent for the first two to three minutes. It means a lot. It is a very big recognition. The news hasn’t really sunk in yet.”
He adds, “I’m feeling a sense of happy pressure right now. I’m on the verge of starting my next film with Ajay Devgn, a biopic on Syed Abdul Rahim, in a few days from now. All I can say is that I will never lose sight of my story and script ever. Experiences like Badhaai Ho teach you to believe in your thoughts and ideas wholeheartedly. I’d be lying if I said that I didn’t desire a National Award. I was talking to Surekha Sikri ji after her name was announced as I was happy for her. She told me, ‘Beta, tujhe bhi milega. Yakeen rakh khud par.’ And in minutes, I got a call saying that the film had won the award for the Best Popular Film that provides wholesome entertainment,” he says.
Amit continues, “I thank Mr Vineet Jain for collaborating with us. We are creative people and we want each one of our works to succeed, find commercial and critical acceptance. The response of the audience was phenomenal, which also underlines the fact that a film is not big or small anymore; it’s about how good it is. I knew I was running a risk to keep the film’s focus on the senior set of actors and not the young guns, but that was the only way to stay true to the story. The audience has changed and the credit for our win must also go to them.”
The director also praises his cast — Ayushmann Khurrana, Neena Gupta, Sanya Malhotra and Gajraj Rao — for their role in making the film so memorable. But he reserves the most praise for Surekha Sikri, who won the Best Supporting Actress award for her portrayal of the grandmother in the film. “I’m so happy for her. It is a well-deserved honour for her,” says an elated Amit.

MUJHE BAHUT MAZAA AAYA ISS FILM MEIN KAAM KARKE: SUREKHA SIKRI
Surekha Sikri, who won her third National Award for the much-loved portrayal of the grandmother in the film, was overjoyed at the recognition. She says, “Badhaai Ho is a special film and everyone who worked to make the film a huge success deserves to be congratulated today. It was a well-written film with characters that every family in India can relate to. Mujhe bahut mazaa aaya iss film mein kaam karke and the best part is that the audience appreciated the way it was written.”
“I am thankful to the film’s team, especially director Amit Sharma, for giving me a chance to be a part of such a special film. I am really happy and overwhelmed that people think I am worthy and deserving of this honour,” she adds.
Ayushmann Khurrana, the film’s lead star, is all praise for the director and his creative team. The actor says, “With Badhaai Ho, I took up a taboo topic because I believed that people would be okay to see this kind of cinema. I’m glad that a film like Badhaai Ho won big and I congratulate my director Amit Sharma for his breakthrough script that became a talking point in every household.”
BADHAAI HO HAS ALL THE NAVRASAS: NEENA GUPTA
The cast of the film says that Badhaai Ho has proved to be one of those rare movies in today’s times that earn love and praise from all sections of the audience. “I think Badhaai Ho totally deserves this honour. I have not heard even one person criticise the film, which is very rare,” says Neena Gupta, who played the character of Priyamvada, the film’s female lead.
The actress says the best part of Badhaai Ho was that it touched the hearts of the audiences with a simple and realistic story. “Badhaai Ho has all the navrasas. Natya Shastra says ki natak hamesha sukhant hone chahiye. So, Badhaai Ho was the combination of all the navrasas and had a happy ending. It was the simplicity of the film that won the audiences’ hearts,” she says.
Neena further says she is especially happy for Surekha Sikri. “Woh hamari guru rahi hain. We used to learn from her and we have always looked up to her,” she adds.
STORY AGAR ACCHI HAI TOH WOH DOOR TAK JAATI HAI: GAJRAJ RAO
Gajraj Rao, who played Neena Gupta’s husband in the film, adds, “Story agar acchi hai toh woh door tak jaati hai. It has been 10 months since the film released, but even today, its warmth hasn’t diminished. Everywhere I travel, people treat me with reverence and warmth because I was a part of this film. I am so thankful to the jury for recognising it.”
Before the film had released last year, Ayushmann Khurrana had told us, “Badhaai Ho will be a case study for sure. I mean, it’s talking about a social taboo like middle-age pregnancy. If it achieves that mark of big commercial success and critical acclaim, I think it’s a huge victory.”
Now, with its National Awards success, the film seems to have achieved that victory.

Content and stardom are not here to replace each other but to co exist-Amit Sharma
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Badhaai Ho director Amit Sharma is following up the 2018 hit with a sports biopic fronted by Ajay Devgn and a Finnish family vacation
Himesh Mankad (MUMBAI MIRROR; January 3, 2019)
To say that Amit Sharma had a great 2018 would be a bit of an understatement. His second directorial, Badhaai Ho, which featured Ayushmann Khurrana, Neena Gupta and Sanya Malhotra, among others, and revolved around a shock pregnancy, was one of the biggest hits of the year. “The idea was to make something that was worth the viewers time and money,” the filmmaker says, adding that he needs to have faith in a story to direct it. The filmmaker, however, doesn’t think that content is taking over the concept of stardom in Hindi films. “Content and stardom are not here to replace each other but to co-exist and complement each other. It would be magical to have a big star in a content-driven film,” he opines. Amit’s directorial debut, the Arjun Kapoor and Sonakshi Sinha-starrer Tevar (2015), wasn’t received well but he sees it as a stepping stone to success. “Tevar was a special film, as it was appreciated by industry insiders, I was noticed, and it gave me a platform to direct my next film. I have loved cinema too much for a failure to let me down,” he smiles.
He is now gearing up to direct the biopic of legendary football coach Syed Abdul Rahim, which features Ajay Devgn in the title role. Once again, he downplays the pressures of working with a superstar, saying, “There is an obvious pressure, but I look at it differently. Ajay is disciplined, and committed towards everything he does, and it will be exciting to work with him,” he says. He believes that Ajay’s presence in the film will create more buzz for the sport in India. “He has a tremendous fan-following and working with a superstar will prove to be an advantage to the film. We are working on a film about the greatest Indian football coach, so it is essential to get the basics right. We are in the pre-production stage which involves collecting and corroborating information about that time. The script is locked, and we plan to go on the floors soon,” he offers. Before work beckons again, Amit is enjoying a family vacation in Finland. “I am making snowmen and swimming in subzero temperature,” he signs off. Ajay Devgn is extremely fit, so we should sail through the film, comfortably-Amit Sharma
8:43 AM
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Badhaai Ho director helming Ajay Devgn's sports biopic on why actor's physical prowess makes him apt for Syed Abdul Rahim's role
Mohar Basu (MID-DAY; December 1, 2018)
With his latest flick, Badhaai Ho still running strong in cinema halls, director Amit Sharma has his eyes trained on his next, a biopic on former football coach, Syed Abdul Rahim. Apart from being delighted to revisit a sport he admires, Sharma finds comfort in the fact that his leading man, Ajay Devgn is one who can seamlessly mould himself into any character."Ajay sir can play a vast range of roles. He is extremely fit, so we should sail through the film, comfortably," he says, alluding to the physical preparation that will be demanded of the actor. Also priding the fact that Devgn scores points with his knack of acing a drama, he says, "There is no one other than him who can nail the emotional [quality] that a character like this demands. I have met him a few times. He is a great listener and has a zest to find new stories and refreshing characters."
Admitting that the currently untitled film will mark his first attempt at creating a sports biopic, Sharma points out that it was his tryst to give a go at unexplored genres that led to the creation of his advertising production house, Chrome Pictures.
The story of his muse, Rahim, was another inspiration. "Our country worships cricket. Football isn't celebrated as much. Rahim sa'ab never got his due. There isn't even a cup or stadium in his name. He deserves more. With this film, I hope the focus on football multiplies several folds." The script, he reveals, should be completed soon. "We roll next year."Meanwhile, the director's recent offering, Badhaai Ho, continues to set the cash registers ringing, and has breached the Rs 200 crore-mark at the box-office. "I am trying to hold my ground when it is easy to fly," he smiles. Referring to the comedy's plot-line — that highlights what happens when an aged couple becomes pregnant — he adds, "When I decided to produce and direct the film, people said it wouldn't work or that it would make people awkward. But I knew it would do well. Yet, we didn't anticipate the love. Salim Khan sa'ab too called to say it had the ingredients [of a good film]."
Who is Syed Abdul Rahim?
Hyderabad-born Syed Abdul Rahim was an Indian football coach and manager of the national team from 1950 until his death in 1963. He had also been a football player. Rahim is widely considered to be the architect of modern Indian football, with his tenure as coach being dubbed as the "golden age" of football in India. He led the Indian team to the semi-finals of the 1956 Melbourne Olympics, making India the first Asian country to achieve this feat.

From delivery room of Badhaai Ho, Amit Sharma now moves to football field with Ajay Devgn
8:49 AM
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After tasting box-office success with Junglee Pictures’ Badhaai Ho, director Amit Sharma’s next is on India’s football coach Syed Abdul Rahim featuring Ajay Devgn
Avinash Lohana (MUMBAI MIRROR; November 12, 2018)
While his last directorial, the Junglee Pictures’ slice-of-life comedy Badhaai Ho, recently crossed the Rs 100-crore mark, Amit Sharma has dived into prep for his next, an untitled film featuring Ajay Devgn as Syed Abdul Rahim, the Indian football team’s coach and manager from 1950-1963. The film rolls mid-2019. “Making a biopic and a sports film was always on my wish-list and with this film, both genres have come together beautifully. I was busy with the post-production of Badhaai Ho when Boney ji (Kapoor, producer) called to discuss the subject. When he offered me the film, I leapt at the opportunity. Ajay is also really excited about playing Rahim saab,” Amit says, adding that the film will showcase the “golden era of football spanning from 1952 to 1962.”
Under Rahim’s guidance, India bested some of the top teams in the world and returned from the 1962 Asian Games in Jakarta with a gold after beating South Korea. “We have started meeting players from that team. Three days ago, I met Tuslidas Balaram, known as India’s Pele, and Fortunato Franco to get an insight into their time with Rahim Saab. Both are in their 80s and had so much to share. We have got a lot of research material in place too. These people have done India proud, yet many of us don’t know much about them. So, it becomes a bigger responsibility to tell their story in the best way possible,” asserts Amit, who also touched base with Rahim’s son and former Olympic football and FIFA official, Syed Shahid Hakim.Ajay too has already covered a lot of ground in terms of research. “He won’t be playing a lot of football in the film as he is the coach, but he is fond of the sport. To get into the groove, he will start his training a month before shooting commences next year. Meanwhile, I have begun work on the prep, working with the writers, Saiwayn Quadras and Ritesh Shah,” Amit informs.
The sports biopic marks his reunion with Boney, who had produced his 2015 action-drama Tevar. The filmmaker is producing the film with Akash Chawla and Joy Sengupta. “Boney ji treats me like his son and our equation has grown stronger with time. He has given me such a big film which means he loves me a lot,” smiles Amit.
About his recent box office success, he says that the nicest reaction to Badhaai Ho came from a lady in Kolkata who said that it was heart-warming to see middle aged couples holding hands through the film. “She said, ‘Tum pyaar phir se le aaye ho in couples ke beech mein.’ Neena ji (Gupta, who plays Ayushmann Khurrana’s mother) thanked me again for giving her the film. She considers it to be her rebirth. I was touched,” Amit beams.
The characters in Badhaai Ho are from our families, that’s what makes it relatable-Amit Sharma
8:24 AM
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Aarushi Nigam and Abhimanyu Mathur (BOMBAY TIMES; October 14, 2018)
"When we started writing Badhaai Ho, I realised that it has happened in my family also – my grandmother was pregnant at the same time as her mother,” says director Amit Ravindernath Sharma. However, he says, the film is today’s, and challenge was to keep the story real and relatable – how the family, the mohalla, the relatives would react to the ‘good news’. Amit tells us that it was important to make sure that the audience laughs at the story, not cringes. Excerpts from the interaction:
‘THERE IS A CUTENESS IN THE STORY’
Earlier, a couple in their 50s having a kid was not a taboo, but it is happening today also. Like, 18-year-old, 22-year-old, and then a sibling is coming, yeh aaj bhi ho raha hai. I know a few people – there’s a girl I know who was 26 when her sibling was born. Aur issko likhne ke samay bhi, we kept it ki real mein natural reaction kya hoga logon ka, mohalle ka kya hoga, bachchon ka kya hoga. Apne ghar mein jo mother hain, unka kya hoga. Aur husband-wife ke beech ki chemistry ka kya hoga. Chemistry is very important – when I say ‘family’, family means chemistry. Whether it is two brothers, whether it is girlfriend-boyfriend, whether it is husband-wife, whether it is daadi.
When you see things happening around you, you see the reactions, you feel it, and that’s what is written. It is not vulgar at all. You can come with your kids and watch the film. You’re going to have fun. Even if the film was U/A, it wouldn’t matter. The cuteness is there in the whole thing. Usske andar har kisi ka apna apna point of view hai. Like Nakul (Ayushmann Khurrana’s character) and Renee (Sanya Malhotra’s character) – Nakul ke ghar mein hua hai, par usski girlfriend usko bol rahi hai, ‘Yaar tera problem kya hai? Tu iss baat pe upset hai ki tere mummy-papa sex karte hain?’ She doesn’t believe ki aisa nahi ho sakta. That’s why, when her mother asks ki yeh kaise hua, she says, ‘jaise hota hai waise’! Everybody has got a point of view, which is very important, that you have characterisation written like that. Like her (Renee’s) mother, she’s saying what the audience will be thinking, actually. That character has been created because those questions were coming to my mind – ‘Toh matlab aap iss umar mein, why will you have a kid?’ She has her own point of view. Which is not wrong. She doesn’t become the villain. That’s the balance which was very important when you’re creating the characters.
‘ALL THE CHARACTERS COME FROM OUR FAMILIES’
In Kaushik sahab and Mrs Kaushik, I actually saw the relationship of my parents. They were like, very strong with each other. They were like, agar unko jana hai sabzi khareedne ke liye toh he will say to my mother, ‘chalo yaar sabzi khareedne chalte hain’, to which she will reply, ‘Arre yaar tum ja ke le aao na yaar, samne market hai’. He’ll say, ‘nahi yaar chal na saath mein’. She’ll say, go, and as he reaches the door, she’ll say ‘achha wait, main aati hoon’. Toh ek aisa pyar jab aapke relationship mein hai, you’re still in love with each other, whether you are 50 or 60, whatever age, doesn’t matter. It doesn’t matter. It’s fine. We’re not saying having a kid at the age of 50 is fine. We are saying that being in love with your wife is fine.
Because we are all from middle-class backgrounds, we understand how people think, how a daadi would react. In my mind, my daadi was there, she was also a Jhansi ki raani. Jab main shoot kar raha tha, maine unke photographs bhi dikhaye, ki this is the way she used to dress up, this is the way she used to talk, but accent aapka woh rahega. Sab kuch apne ghar-parivar se hi jo aap seekhte hain, because I’m from a middle-class, and at the same time, joint family. Joint family ki apni hi ek politics hoti hai.
My grandmother and my mother had this kind of a relationship. Unki ladayi bhi hogi lekin shaam ki paanch baje ki chai dono ko saath mein baith ke peeni hai. Meri maa shaam ko do baar chai peeti thi, ek baar with my father, and then with my daadi. All this has come from somwhere or the other, kisi ki family se, kisi ke ghar se, koi ek aisa character, that makes the film more relatable, and more real – ‘ki humne aisa character dekha hai’.
‘IT TOOK US TWO YEARS TO WRITE THE FILM’
When I heard that one line idea from Shantanu (Srivastava, one of the writers), I asked kiska hai yeh? He said Akshat (Ghildial, who wrote the screenplay) ka. So, I said let’s do this. It started from that one line and to write that whole story, whole script. Again that one question, that very valid question ki mummy-papa ke saath film dekh rahe hoge toh aap cringe toh nahi karoge? Aapko aisa toh nahi lagega? Toh actually nahi lagega, aur aise likhna bada difficult hota hai. Aisi samajhdari badi mushkil se aati hai, kyunki aisa nahi hai ki aaj idea aaya aur 5-6 mahine mein script ready kardi. It took us two years to write the film.
Constantly, we would throw ideas at each other, and the way both of them have written the film – when I heard the script finally, I was so happy.
At the same time, it’s not very easy to make a film like this. It becomes very difficult ki writing process ke andar hum iss family ka jo milieu dikha rahe hain, woh kitna real dikha sakte hain. Aap kitna uske saath relate kar payenge. I wanted that when the audience starts watching the film, they see the family and they become a part of it. That quality of writing came from both of them because they have seen life. Akshat is from Meerut. He has lived his life in Meerut, 12th class tak woh wahin par padha hai. Usko language bahut achhe se aati hai. Shantanu is from Rohtak, so he understands the middle-class. Professor ka beta hai. Woh sab cheezein, iss poori cheez mein, are the most important things.
FROM MRS KAUSHIK TO DADI – HOW THE CASTING HAPPENED
When I heard the character of dadi, I was like isko kaun play karega? That casting was important for this film. Surekha ji ka naam aaya, and – I told this to Surekha ji also – I was not very convinced. Maine unke kuch serials dekhe thay toh mere ko aisa laga ki yaar, nahi, kaise hoga. Then one day, I said, ma’am, aaiye reading karte hain. She came and she was reading one scene, and I had tears in my eyes. Toh film ke aur bhi pehlu hain. Yeh toh humne sirf aapko ek hi pehlu dikhaya hai. Later, when it opens, you will see, you will feel, you will know.
Same with Neena ji. You know I was thinking who will play the mother. Neena ji ka naam aaya. I hadn’t seen anything Neena ji ka recently, and Khujli kar ke ek short film kari thi inhone, toh woh dekhi maine aur maine kaha, ‘Oh my God, I got my mother, I found my mother!’ When we called her, we said Neena ji jab aayengi toh bahut simple kapde pehen ke aayein. Toh woh simple si salwar-kameez pehen ke aa gayi. Aa ke baithi aur boli ki, yeh simple enough hai na? Kyunki mere paas actually iski salwar nahi thi toh maine apni maid ko bola apni salwar de do. Toh itni simplicity agar ek actor mein hai, toh wohi chahiye tha character ke liye.
For Nakul, I wanted ki ek aisa banda jiska you see the face and you say that it’s relatable. Ek aisa actor jo usko andar se le paaye, andar se maan paaye uss baat ko ki meri maa pregnant hai. Those reactions are not easy. Bahut mushkil se nikalte hain woh. That is something which came from Ayushmann. I was so happy. Then Gajraj ji, I have known him since I was 18. We had never worked together as director and actor. Mere liye bhi revelation tha, inke liye bhi revelation tha (laughs).
Then comes Sanya. Mujhe zyada brief karne ki zaroorat nahi padi. She underplayed the character so well. It was not ki aap kuch over kar rahe hain. Over ki gunjayish thi hi nahi. She is not over at all. She is understated. Everybody in the film, like Gullar, the younger brother, the one guy to whom I didn’t have to say ki tu aisa kar. I used to say, tu kaisa karega, bata.
Junglee Pictures presents Badhaai Ho in association with Chrome Pictures. Produced by Vineet Jain, Aleya Sen, Hemant Bhandari and Amit Ravindernath Sharma, the film is co-produced by Priti Shahani. Badhaai Ho releases on October 19
Forty ke baad romantic hona paap hai, lagta hai-Badhaai Ho team
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Badhaai Ho is about a middle-aged couple getting pregnant, and their grown-up kids can’t live it down! The film’s team tells us how it created a family that’s ‘just like us’, and why that makes for the best laughs
Aarushi Nigam (BOMBAY TIMES; October 3, 2018)
The trailers call the Kaushik family a circus. When you try to create something so chaotic, how much of that is scripted and how much is spontaneous?
Sanya Malhotra: The script is actually very well written. And Shantanu (Srivastava) and Akshat (Ghildial) have done a brilliant job with the dialogues and with each scene. So it was a lot of fun.
Ayushmann Khurrana: It’s mix of both. Of course the script is amazing, one of the best I’ve ever read. I had this intuition when I heard it – I’m not very impulsive – but I was like, I’m doing this. But it’s also the kind of milieu you’re born in – like we’re inherently acquainted with middle-class, north Indian culture. So of course we get our own nuances to it. And talking about the circus, our society is like that. We are very funny. It comes from hypocrisy too, because we’re not open about things. If parents are pregnant, we won’t directly face them. We’ll get irritated, but we won’t talk about it. Kudte rahenge, sadte rahenge, that’s where the humour emanates from.
You’re showing this middle-class family, where the parents get pregnant but can’t say it directly (‘chhota mehmaan aane wala hai’). In real life too, people watch stuff like this with family as long as it’s within a certain confine. How does one work that balance, that people should laugh, maybe cringe a bit, but not get uncomfortable?
Amit Sharma: When you see the film, you won’t feel that you need to leave the room or you can’t watch it with your parents. For me, the most important thing was that the audience gets so engrossed that they become a part of the family. The language, the situation – you will laugh, you won’t feel like cringing. Agar yeh kisi ke ghar mein actually ho jayega, toh usska reaction kya hoga? Agar 25 saal ka ladka hai, ek baarahvi class mein hai, unka reaction kya hoga? That is the milieu of the film. After the trailer was out, I got so many calls, ki yeh toh meri kahaani hai.
Gajraj Rao: Issme jokes hain, moments hain, aur cheapness ki kahin zaroorat nahi hai.
Neena Gupta: Mujhe lagta hai jab actor scene karte hue embarrass hota hai ya ussko ajeeb lagta hai, toh audience bhi hogi. Many years ago, there was a little sexy scene we were doing, and the director was very shy, actors were shy, so one veteran actress said, ‘ek shy sa director, shy se actor, scene karenge toh audience bhi yoon (drags her chin down) ho jayegi’. If we had fun, dekhne waalon ko bhi maza aayega.
Amit: Jab yeh one-line idea maine suna – 51-year-old mother getting pregnant – I said yeh toh bahut kamaal ka premise hai. Then I realised it happened in my family too. When my grandmother was pregnant, her mother was also pregnant.
Yes, we react with shock today, but this wasn’t an aberration 50 years ago...
Amit: Exactly. It wasn’t taboo then. But it happens today too. Aur likhte samay, we kept it ki reality mein reaction kya hoga logon ka, mohalle ka, bachchon ka, mother ka. It happened in Akshat’s family also, so when you see things happening around you, that’s what is written. And we kept it as, not vulgar at all. You can come with your kids and have fun.
If this was so common, ab kyun log itna shock hote hain?
Gajraj: Urban society mein. Chhote shehar mein, gaon mein, abhi bhi nahi honge. Yeh bade sheheron ka problem hai. Wahan pe oddness ko lekar problem hai – har cheez jo routine mein chal rahi hai, waisa hi hona chahiye.
Ayushmann: Society has changed so much, like we live in an age when people are not getting married. If they get married, they don’t want kids. And it’s an aberration now if you have a third child or a child in your forties. It used to be normal earlier. That’s why... Taboo subjects used to be taboo because nobody talked about them. Yeh ulta hai, pehle karte thay, ab toh bilkul nahi karte. It’s a rarity in urban society.
The awkwardness is also coming from, ‘this is the time to be thinking of your kids’ future, you’re not supposed to have a future’. Else you’re self-centred. Rural India is not obsessed with such priorities, ki mera beta IIT karega...
Ayushmann: Normally, ‘values, culture, preservation, awkwardness’ – it happens in the middle class by default. Because they think they’re the flag-bearers of society, of culture, everything. The lower class and higher strata, they don’t give a damn. Middle class is the one that will always be, humein bach ke chalna hai, we are the most vulnerable and the most ambitious at the same time. So the humour comes from there. Jitna awkward woh feel karenge na, utna maza aayega unko dekhne mein!
Gajraj: Yeh expect kiya jata hai na ki ek baar aap 40-50 ke ho gaye, toh aapko bahut ‘achha’ ban ke rehna hai. Romance nahi karna hai, bhale woh shaadi ke andar ka romance ho. Aapse ummeed ki jati hai ki...
Ayushmann: Woh bachchon ki ummeed hoti hai, ki maa-baap sex nahi kar sakte. Hum kaise paida hue?!
Gajraj: Baat hi aise karte hain – ‘itni umar ho gayi, dekho kaise kar raha hai’.
Amit: Correct. ‘Uncle toh abhi bhi lage hue hain’, ‘shakal se toh bade shareef lagte hain’. Arre, apni biwi ke saath hi hain! But chaar ladke khade ho jayenge, woh aapas mein kuch hansi-thattha toh laga hi denge, mazak uda denge. Toh woh sab cheezein embarrassment ko, it increases. You feel, humko yeh face nahi karna. Why do we say, hum log bade ho gaye, humaare maa baap sex nahi kar sakte. Kyun nahi? But we’re not talking about that. We’re just saying this is something which is very natural between a husband and wife who are still in love.
Gajraj: Forty ke baad romantic hona paap hai, lagta hai.
In the trailer too, the mother treats the middle-aged couple like a pair of guilty teenagers, when they have nothing to be guilty about.
Neena: When I was in school, sex was a ‘dirty’ thing. Mujhe yaad hai, pata chala humaari teacher ka boyfriend hai. It was such a ‘haw-haw’ thing, kyunki humaare liye teacher is one of those jiska ‘aisa kuch nahi ho sakta’. It’s the same – ‘mummy kaise kar sakti hai? Mummy toh bahut shuddh hai. Yeh apavitra hai’. This is how we’ve been brought up.
Gajraj: Main toh sex tak jaa hi nahi raha, main toh romance ki baat kar raha hoon! Wohi nahi karne dete.
Amit: In Mr and Mrs Kaushik, I saw the relationship of my parents. They were very strong with each other. We’re not saying having a kid at 50 is fine. We’re saying being in love with your wife is fine.
The message is about love, then?
Ayushmann: This is the most audience friendly film of all my ‘content-driven’ films. It’s not Vicky Donor, it’s not erectile dysfunction, it’s not phallic issues! It’s dealing with parental pregnancy in a very clean way. It is ‘U’. It’s not even ‘U/A’!
Amit: Even if it were ‘U/A’, it wouldn’t matter. The cuteness is there in the whole thing.
Gajraj: Natkhat hai. Ussme sharaarat hai, maza hai.
How much has the Indian family changed?
Amit: It has changed. How we raise kids has changed.
Ayushmann: The Kaushik family, even though they’re a nuclear family and the rest of the family is away in Meerut – the family dynamics will not change because politics toh wohi hogi, kuch bhi ho jaye.
Neena: Yeah, for example, me and my mother-in-law, we are typical middle-class saas bahu. She gives me gaalis, I also give her gaalis, but when the time comes, we help each other. That’s what happens in families, gaali dete hain daba ke, aur pyar bhi utna hi hota hai. So that is the most beautiful part of the film, the relationships.
Amit: My grandmother and my mother had this kind of relationship. Unki ladayi bhi hogi lekin shaam ki 5 baje ki chai dono ko saath mein peeni hai. Meri maa shaam ko do baar chai peeti thi – with my father, and then with daadi. So all this has come from somewhere or the other, kisi ki family se, kisi ke ghar se, koi aisa character, that makes the film real.
I woke up and I was staring at death-Amit Sharma on earthquake in Siliguri
7:43 AM
Posted by Fenil Seta
Tevar director Amit Sharma was in Siliguri to shoot a commercial when the earthquake hit the region
Ankur Pathak (MUMBAI MIRROR; May 16, 2015)
When Tevar director
Amit Sharma landed in Siliguri last week
he was in an upbeat mood as he prepped to shoot
a life-celebrating commercial. However, on May 12, on the day they were
to start rolling, a massive earthquake rocked the region.
This was the second earthquake (7.3 magnitude on the Richter scale) after the catastrophic one which had struck Nepal on April 25. “I was taking a nap in my hotel when suddenly, my room started swinging violently,“ Amit recalls. “Initially, I thought I was dreaming but when I opened my eyes, I was staring at death.“ A brick fell on his head and he ran for his life, stopping only to grab his cell phone. “I was on the fourth floor and thought I would never make it to the ground floor as the whole structure was shaking vigorously and the walls were developing cracks,“ he shudders at the memory.
Once down, Amit called home to inform the family that he was safe and rushed to rescue the rest of his crew. “I immediately decided to return to Mumbai. I couldn't risk so many lives after what was the most frightening moment of my life,“ he says.
Since the ad has to be shot on the toy train to Darjeeling, Amit will have to return to Siliguri, but not immediately. “We're still reeling from shock. Thankfully, there were no casualties, we will return later this month,“ he says.
This was the second earthquake (7.3 magnitude on the Richter scale) after the catastrophic one which had struck Nepal on April 25. “I was taking a nap in my hotel when suddenly, my room started swinging violently,“ Amit recalls. “Initially, I thought I was dreaming but when I opened my eyes, I was staring at death.“ A brick fell on his head and he ran for his life, stopping only to grab his cell phone. “I was on the fourth floor and thought I would never make it to the ground floor as the whole structure was shaking vigorously and the walls were developing cracks,“ he shudders at the memory.
Once down, Amit called home to inform the family that he was safe and rushed to rescue the rest of his crew. “I immediately decided to return to Mumbai. I couldn't risk so many lives after what was the most frightening moment of my life,“ he says.
Since the ad has to be shot on the toy train to Darjeeling, Amit will have to return to Siliguri, but not immediately. “We're still reeling from shock. Thankfully, there were no casualties, we will return later this month,“ he says.
My next film with Arjun Kapoor should roll in August-Tevar director Amit Sharma
7:48 AM
Posted by Fenil Seta
Tevar director Amit Sharma also reveals that he wants to cast Sonakshi Sinha in all his films
Sanyukta Iyer (MUMBAI MIRROR; February 26, 2015)
Amit Sharma spent 106 days shooting his debut film, Tevar. But despite a good opening, it belied box-office expectations. "Maybe because of the cold and fog, viewers up North were under the weather. May be we should have followed the genre-related trends more closely after Action Jackson failed to make merry. But these results didn't sour any relationships. Boney Kapoor is like a father figure to me, Arjun and Sonakshi continue to be my family," asserts the young director.
Rumours were rife that Boney had scrapped his second project with Amit. He refutes this revealing that only two days ago, he spent the entire day with the producer discussing work.
"I'm scripting two films. One is with Arjun in the lead which should roll in August. I have given myself a six month-long deadline for it. And the other revolves around a 22-year-old," he reveals, adding, "It's exciting to work with Boneyji. If he doesn't like anything during the edits, he orders a re-shoot without bothering about the money." And how often did that happen during Tevar? "Never!" beams Amit.
Reportedly, Arjun was furious over Tevar's failure? But Amit says that when he was in Gulmarg recently for an ad film shoot, he fell and injured his knee. "When I returned, Arjun called to check up on me. He has invited me home to chill out together. We're thick as thieves," he insists.
And will Sonakshi pair up with Arjun again? "If I had my way, she'd be in all my films," he laughs.
Amit Sharma spent 106 days shooting his debut film, Tevar. But despite a good opening, it belied box-office expectations. "Maybe because of the cold and fog, viewers up North were under the weather. May be we should have followed the genre-related trends more closely after Action Jackson failed to make merry. But these results didn't sour any relationships. Boney Kapoor is like a father figure to me, Arjun and Sonakshi continue to be my family," asserts the young director.
Rumours were rife that Boney had scrapped his second project with Amit. He refutes this revealing that only two days ago, he spent the entire day with the producer discussing work.
"I'm scripting two films. One is with Arjun in the lead which should roll in August. I have given myself a six month-long deadline for it. And the other revolves around a 22-year-old," he reveals, adding, "It's exciting to work with Boneyji. If he doesn't like anything during the edits, he orders a re-shoot without bothering about the money." And how often did that happen during Tevar? "Never!" beams Amit.
Reportedly, Arjun was furious over Tevar's failure? But Amit says that when he was in Gulmarg recently for an ad film shoot, he fell and injured his knee. "When I returned, Arjun called to check up on me. He has invited me home to chill out together. We're thick as thieves," he insists.
And will Sonakshi pair up with Arjun again? "If I had my way, she'd be in all my films," he laughs.
I promised my mother at her funeral that I'll never let her die-Amit Sharma
8:00 AM
Posted by Fenil Seta
Priya Gupta (BOMBAY TIMES; January 8, 2015)
Amit Ravindernath
Sharma, 35, chose to add his father's name in his, as he wants
his father to always be with him during his journey in films.Amit has
two sides to him. He is a giver and deeply emotional when it come to his
loved ones, but can get really tough and selfish when he needs to take
work out of you. He may have a cleanliness OCD, but he is dead crazy
hardworking and has directed 900 ad films, before he made his film debut
as a director with Boney Kapoor's Tevar. Over an hour-long conversation,
he talks to Bombay Times about getting trained under Pradeep Sarkar,
what made him get his father remarried and what he does to keep his
mother alive. Excerpts:
How did you come to becoming a film director?
I am a Punjabi Brahmin born and brought up in Delhi. My parents were government servants. My mother worked for the engineering department of Doordarshan and unlike my father, who was a complete film buff, she had no interest in films so much so that while she would go with him every Friday to see the latest film, by interval, she would be fast asleep in the hall. But ironically, I came into this industry because of my mother. I had an older sister who was also working, so when I was in Class XI, I would be alone at home feeling like a king. So once when I came back home from school, my mother called me to ask, 'Modelling karega? Acting karega?' She would read every word in the newspapers and she had seen an ad asking for models for serials. I used to do a lot of theatre when I was in school and that very moment, I decided that I wanted to be a hero. Through one of her friends who worked for Contract Advertising, I managed to connect with Pradeep Sarkar, who was also making freelance films. After ten days, I get a call saying come to this studio and if you have a girlfriend, bring her along too. I never had a girlfriend, so I reached there and on the way outside the studio, there were two girls passing by and I asked them, 'Do you want to act?' And they both were like ya ya. I said, 'Come with me.' And I took both of them inside. There was a scratch film being made for Limca, in which I was a junior artist sitting at the back in a college canteen with these girls. So this fat guy (who I didn't know at that time was Pradeep Sarkar) said, 'Tum na, look at that sexy girl who will come.' And I realised that he was Pradeep Sarkar. I introduced myself to him and was later selected as the mainstream actor for an ad film that was to be shot in Manali and I was too excited. It took me 18 hours to reach Manali, but my shoot got over in just 2 hours. It was October 9, my mother's birthday, and I had faced the camera for the first time. I didn't want to go back and told dada, 'I want to stay back and work with you.' He allowed me to stay back and while in school, I remained in touch with him after which, I joined him. I worked with him for six years and shifted with him in 2001 to Mumbai. I stayed with him till 2003, after which I formed my own company Chrome Pictures with my girlfriend Aleya Sen Sharma (who also worked with me under Pradeep da) and Hemant (my childhood friend who had assisted Shoojit Sircar). I had learnt direction from Pradeep da and production from Shoojit sir and we started making ad films. Pradeep da bahut kamaal ke aadmi hain. When he made Parineeta in 2004, he called me to assist him. But I was getting married to Aleya at that time. I called her and told her that dada was asking me to push my wedding and she was okay. I then called my mother who said, 'Are you mad? There is no date for another year.' I decided to get married to Aleya instead of working on Parineeta. After making 900 films, including films for brands like Idea, Tata Tea Jaago Re and Google Reunion, I reached a point of saturation and wanted to make a film. Boney Kapoor offered me Tevar and here I am.
How was your experience working with Boney Kapoor?
I feel very close to him. It's very important for me to have my space on set. In our early days of shooting in Sambhar, I once found him very grumpy on the set. Seeing him like that put undue pressure on me and I requested him to not be on set. He returned to the hotel, where he waited for me at the lobby to talk to me. Can you imagine his problem was with production as to why they had not put us up in a better hotel. That's the kind of producer he is. Throughout shooting, I had a special bond with him and he said, 'Tu mere beta jaisa hai.' He has told me about his debts and I have told him yeh sab nikal jayega. If I have taken the responsibility, I will try my best to take you out of it. He has given me my first film. I have been called by a lot of people after they saw the trailer. But I have told everybody that listen I am there in the market, but right now I am with Boneyji, so my second film I owe it to him. Professionally, I might be getting more money outside, but I am not selfish in that way and am very loyal.
Who do you love the most in the world?
My mother who I lost in 2008, in a car accident. My father would always be worried about me and would say, 'Tu kya karega zindagi mein. Na toh tu padta hai, na likhta hai.' And my mother would tell him, 'He will find his way, don't worry.' She was the one force behind me and she was always that one push that I needed. For instance, when we decided to leave Pradeep da and start off on our own, our parents were visiting us in Mumbai and I told them that I was leaving the job the next day. My father immediately said, 'How can you think of this in a recession time? People are not getting jobs and you want to leave your job. What you earn in one month, I earn in six months.' I got really disturbed and lost all my josh. My mom said, 'Don't listen to what your father has told you. He has always been a government servant and has believed in a secured life. You want to do a creative job. Just do what you want to.' My father was sitting there only and she said, 'Aap chup raho. He will do it and I know he will make it.' My mother came from a small village called Chandi in Haryana. She had come all the way to Delhi, finished her education and taken up a job to make her life. So for her, the struggle was much more than my father, who had always lived in Delhi and was resistant to change. In the beginning while working with Pradeep da, I would come home and cry as I felt I couldn't do it. Pradeep da would not hold your hand and teach you and I would feel completely lost. But my mother would say, 'Whatever you do in life, you will have to go through this. If you want to leave the job leave it, but remember that wherever you go you have to face all this and the day you overcome all this, is when you will succeed.' My parents had always been a couple who were like lovebirds. They were both fond of walking and be it winters or summers, they would go hand-in-hand every night after dinner to take a stroll for an hour. In 2008, my parents and both the kids of my sister were to go for a wedding from Delhi to Jind in Haryana for a family wedding. My father's driver had gone for a holiday. I was shooting in South Africa, so I called my father and insisted on sending them in a hired car. They left Delhi at 8.30 am and an hour later, the driver slept off and they met with an accident that took my mother away from me. I miss her. She was like a tree under which we all were standing. I asked Boneyji for two things. One, before the film starts, I want my mother's picture and second, I want a premiere for my father, as he is a film buff. And the large-hearted Boneyji immediately said, 'Done. Given.' After my mother died, I didn't leave my father even for a day in Delhi. I made him resign from his job and come to live with me in Mumbai. He was like a child once she left. For four years, me and my sister went mad looking after him. He would just cry all the time. I first made him work with me in office and look after the office, but everyday he would come and howl. One day I came and scolded him badly and asked him to just go back home. More than him I wanted to cry, but I didn't want to cry in front of him as I knew that if I cried in front of him, he would break down more, so I would cry on my own. My sister and I, without his knowledge, registered him on a marriage website to find a match for him. It took us four years to convince him, but we finally did and got him remarried. I told him, 'Papa, why are you thinking about what people will think? They are not going to look after you.' He said, 'You used to love your mother the most and still you are asking me to remarry?' I reminded him how one day it was my mother who had jokingly told him, 'If something happens to me, you should get married.' I have now bought him a house and he lives there.
Talk about Aleya?
Me and Aleya met when I was 21 and she was my first girlfriend. She is very intelligent and ambitious. My mother always called me God's son, as I am a very religious person. I still do puja everyday but after she died, my faith got shaken up. I became very uncertain about life. Coming from Delhi, I wanted to buy a house, so I bought a house in Lokhandwala on loan. But once I lost my mother, I started working like a dog, as I felt that if something happened to me, what would happen to the loan and I had a father, wife and son dependent on me. I didn't share my burden even with Aleya as I didn't want to burden her, though I should have told her. I am a giver and I don't like taking anything. After my mother, I am very responsible. She always used to tell me, 'Amit, you love me so much you will never let me die.' On her funeral, I told her I will never let you die. So I started a foundation on her name, where I try and do however much I can.
I am a Punjabi Brahmin born and brought up in Delhi. My parents were government servants. My mother worked for the engineering department of Doordarshan and unlike my father, who was a complete film buff, she had no interest in films so much so that while she would go with him every Friday to see the latest film, by interval, she would be fast asleep in the hall. But ironically, I came into this industry because of my mother. I had an older sister who was also working, so when I was in Class XI, I would be alone at home feeling like a king. So once when I came back home from school, my mother called me to ask, 'Modelling karega? Acting karega?' She would read every word in the newspapers and she had seen an ad asking for models for serials. I used to do a lot of theatre when I was in school and that very moment, I decided that I wanted to be a hero. Through one of her friends who worked for Contract Advertising, I managed to connect with Pradeep Sarkar, who was also making freelance films. After ten days, I get a call saying come to this studio and if you have a girlfriend, bring her along too. I never had a girlfriend, so I reached there and on the way outside the studio, there were two girls passing by and I asked them, 'Do you want to act?' And they both were like ya ya. I said, 'Come with me.' And I took both of them inside. There was a scratch film being made for Limca, in which I was a junior artist sitting at the back in a college canteen with these girls. So this fat guy (who I didn't know at that time was Pradeep Sarkar) said, 'Tum na, look at that sexy girl who will come.' And I realised that he was Pradeep Sarkar. I introduced myself to him and was later selected as the mainstream actor for an ad film that was to be shot in Manali and I was too excited. It took me 18 hours to reach Manali, but my shoot got over in just 2 hours. It was October 9, my mother's birthday, and I had faced the camera for the first time. I didn't want to go back and told dada, 'I want to stay back and work with you.' He allowed me to stay back and while in school, I remained in touch with him after which, I joined him. I worked with him for six years and shifted with him in 2001 to Mumbai. I stayed with him till 2003, after which I formed my own company Chrome Pictures with my girlfriend Aleya Sen Sharma (who also worked with me under Pradeep da) and Hemant (my childhood friend who had assisted Shoojit Sircar). I had learnt direction from Pradeep da and production from Shoojit sir and we started making ad films. Pradeep da bahut kamaal ke aadmi hain. When he made Parineeta in 2004, he called me to assist him. But I was getting married to Aleya at that time. I called her and told her that dada was asking me to push my wedding and she was okay. I then called my mother who said, 'Are you mad? There is no date for another year.' I decided to get married to Aleya instead of working on Parineeta. After making 900 films, including films for brands like Idea, Tata Tea Jaago Re and Google Reunion, I reached a point of saturation and wanted to make a film. Boney Kapoor offered me Tevar and here I am.
How was your experience working with Boney Kapoor?
I feel very close to him. It's very important for me to have my space on set. In our early days of shooting in Sambhar, I once found him very grumpy on the set. Seeing him like that put undue pressure on me and I requested him to not be on set. He returned to the hotel, where he waited for me at the lobby to talk to me. Can you imagine his problem was with production as to why they had not put us up in a better hotel. That's the kind of producer he is. Throughout shooting, I had a special bond with him and he said, 'Tu mere beta jaisa hai.' He has told me about his debts and I have told him yeh sab nikal jayega. If I have taken the responsibility, I will try my best to take you out of it. He has given me my first film. I have been called by a lot of people after they saw the trailer. But I have told everybody that listen I am there in the market, but right now I am with Boneyji, so my second film I owe it to him. Professionally, I might be getting more money outside, but I am not selfish in that way and am very loyal.
Who do you love the most in the world?
My mother who I lost in 2008, in a car accident. My father would always be worried about me and would say, 'Tu kya karega zindagi mein. Na toh tu padta hai, na likhta hai.' And my mother would tell him, 'He will find his way, don't worry.' She was the one force behind me and she was always that one push that I needed. For instance, when we decided to leave Pradeep da and start off on our own, our parents were visiting us in Mumbai and I told them that I was leaving the job the next day. My father immediately said, 'How can you think of this in a recession time? People are not getting jobs and you want to leave your job. What you earn in one month, I earn in six months.' I got really disturbed and lost all my josh. My mom said, 'Don't listen to what your father has told you. He has always been a government servant and has believed in a secured life. You want to do a creative job. Just do what you want to.' My father was sitting there only and she said, 'Aap chup raho. He will do it and I know he will make it.' My mother came from a small village called Chandi in Haryana. She had come all the way to Delhi, finished her education and taken up a job to make her life. So for her, the struggle was much more than my father, who had always lived in Delhi and was resistant to change. In the beginning while working with Pradeep da, I would come home and cry as I felt I couldn't do it. Pradeep da would not hold your hand and teach you and I would feel completely lost. But my mother would say, 'Whatever you do in life, you will have to go through this. If you want to leave the job leave it, but remember that wherever you go you have to face all this and the day you overcome all this, is when you will succeed.' My parents had always been a couple who were like lovebirds. They were both fond of walking and be it winters or summers, they would go hand-in-hand every night after dinner to take a stroll for an hour. In 2008, my parents and both the kids of my sister were to go for a wedding from Delhi to Jind in Haryana for a family wedding. My father's driver had gone for a holiday. I was shooting in South Africa, so I called my father and insisted on sending them in a hired car. They left Delhi at 8.30 am and an hour later, the driver slept off and they met with an accident that took my mother away from me. I miss her. She was like a tree under which we all were standing. I asked Boneyji for two things. One, before the film starts, I want my mother's picture and second, I want a premiere for my father, as he is a film buff. And the large-hearted Boneyji immediately said, 'Done. Given.' After my mother died, I didn't leave my father even for a day in Delhi. I made him resign from his job and come to live with me in Mumbai. He was like a child once she left. For four years, me and my sister went mad looking after him. He would just cry all the time. I first made him work with me in office and look after the office, but everyday he would come and howl. One day I came and scolded him badly and asked him to just go back home. More than him I wanted to cry, but I didn't want to cry in front of him as I knew that if I cried in front of him, he would break down more, so I would cry on my own. My sister and I, without his knowledge, registered him on a marriage website to find a match for him. It took us four years to convince him, but we finally did and got him remarried. I told him, 'Papa, why are you thinking about what people will think? They are not going to look after you.' He said, 'You used to love your mother the most and still you are asking me to remarry?' I reminded him how one day it was my mother who had jokingly told him, 'If something happens to me, you should get married.' I have now bought him a house and he lives there.
Talk about Aleya?
Me and Aleya met when I was 21 and she was my first girlfriend. She is very intelligent and ambitious. My mother always called me God's son, as I am a very religious person. I still do puja everyday but after she died, my faith got shaken up. I became very uncertain about life. Coming from Delhi, I wanted to buy a house, so I bought a house in Lokhandwala on loan. But once I lost my mother, I started working like a dog, as I felt that if something happened to me, what would happen to the loan and I had a father, wife and son dependent on me. I didn't share my burden even with Aleya as I didn't want to burden her, though I should have told her. I am a giver and I don't like taking anything. After my mother, I am very responsible. She always used to tell me, 'Amit, you love me so much you will never let me die.' On her funeral, I told her I will never let you die. So I started a foundation on her name, where I try and do however much I can.
I had to ask Sonakshi Sinha to lose a lot of weight-Amit Sharma, director of Tevar
8:03 AM
Posted by Fenil Seta
Amit Sharma talks about debuting with a masala film and working with actors chosen for him
Ankur Pathak (MUMBAI MIRROR; November 21, 2014)
It was nearing dusk, the day was almost over. And the quaint apartment was in stark contrast to the busy street that wound its way to Amit Sharma's Linking Road office. The debutant director was casually dressed in a Tee and a pair of denims, sipping tea from an earthen mug. One could almost believe one was far from the madding crowd had it not been for the LCD screen and the fact that one was here to talk about Amit's first feature, Tevar. Excerpts:
Your commercials, including the Google one, are so subtle yet your film directorial debut, Tevar, seems loud and Bollywoodish...
The ads may look glossy and stylised but they mirror reality. Tevar too may look like a complete masala film, but the characters are as real as those you see on the streets of Agra or Delhi. The basic idea came from Okkadu but I didn't want to do a remake. I asked the makers for nine months and reworked the whole screenplay in a familiar North Indian context. We shot on real locations instead of sets which I despise.
How much of an incentive was it to have two A-listers, Sonakshi Sinha and Arjun Kapoor, in your film?
The actors were already on board when I entered the picture. Having established actors helped me customise the script according to their personalities. All I had to do was to lobby for Manoj Bajpayee's character, my favourite in the lot.
Sonakshi has done several South remakes and most of her films, with the exception of Lootera, look identical in terms of treatment and content. How different is Tevar?
Sonakshi's character, Radhika, is very realistic, unlike a Rajjo in Dabangg. She's not in saree or a salwar kameez but like any other modern, small town girl she wears jeans, Tee and a jacket. I asked her to lose a lot of weight and changed her hair-style. Her physical appearance alone will make her stand out in my film. Besides, I've written my characters in a way that they don't appear repetitive or regressive.
Arjun Kapoor has also played a small town boy in Ishaqzaade...
True but in Tevar he's not a hero to begin with. He ends up becoming one. I wasn't sure if the producers would want me as a director despite them having approached me. So I wrote a few scenes keeping Arjun's personality in mind - that of a young, mischievous boy with adorable traits - and sent it to them. I also had a narration with him. He liked what I had written, we connected and the film was on.
How much did your experience as an ad film director help you while helming your first feature?
Quite a bit. As someone who has made over 600 ad films and am familiar with all aspects of filmmaking, right from the basics of pre-production to the complexities of editing. I started out aspiring to be an actor. I still want to be a hero. I've acted in commercials directed by Pradeep Sarkar whom I eventually assisted. In an ad you are telling a story in a few minutes. That changes to a few hours in a feature film. So ad films are the perfect training ground.
Didn't your sensibilities as an ad filmmaker clash with the pre-requisites for a mainstream Hindi film director?
No, because I got complete autonomy and the actors also surrendered to me as performers. There were minute differences but nothing that couldn't be resolved as I had made peace with the fact that a mainstream Hindi film calls for a certain 'masaledaar' treatment.
But there were differences with the makers over a song?
That happens in any creative field. There was a song which I felt needed Mika Singh's naturally quirky voice but it didn't quite work out. So, we went ahead with the original track recorded by Wajid. We will use Mika's version as a remix.
Buzz is, your next film is with Abhishek Bachchan?
We are in talks but we still need to finalise a subject. Right now, my energy is focussed on my big debut film.
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