Niharika Lal (BOMBAY TIMES; August 15, 2020)

Every Independence Day, movie buffs head to theatres to watch the latest releases. That’s why films released on I-Day have seen 80-90% occupancy. In the last 15-20 years, holiday weekends at the box office have usually been occupied by at least one major release, most often a patriotic film. However, this year, as cinemas remain shut due to the Coronavirus pandemic, exhibitors and distributors hope that by Diwali or the next national holiday, their businesses can resume.


INDEPENDENCE DAY RELEASES ENCASH EXTENDED WEEKEND
Advance bookings for I-Day releases, extended weekend and at least 75-80% occupancy are among the reasons why I-Day is one of the most profitable weekends for filmmakers. In the last two decades, from Chak De! India to Aarakshan, Ek Tha Tiger, Singham Returns to last year’s Batla House and Mission Mangal, several major films have released on or around Independence Day. Shaaminder Mallik, a distributor, says, “It’s not just one day, but the whole week between August 11-18 that films are scheduled, to benefit from the holiday. In fact, most of these releases perform well at the box office and have good collections.”

Usually, the slots for I-Day releases are booked a year in advance, with filmmakers and actors announcing the project and the release date. John Abraham, whose film Batla House released on Independence Day last year, said in a November 2019 interview that he feels the day belongs to him. Announcing his next, Attack, which was to be released on August 14, 2020, John had said, “I’ve come to believe that the day belongs to me, not just because it’s a national holiday, but also for the feeling it brings forth. Attack is an apt I-Day release, patriotic without being jingoistic.”


‘I-DAY HAS ALWAYS BEEN BIG FOR CINEMAS’
At a panel discussion on the reopening of cinemas in April, filmmaker Nikkhil Advani had said that he was optimistic that cinemas will reopen by August 15. Last month, before the announcement of Unlock 3.0, when we spoke to exhibitors, they, too, said they were expecting to reopen before I-Day. But that did not happen.

Akshaye Rathi, the Director of Saroj Cinemas, says, “August 15 is one of the most exciting release slots after Diwali. All of us in the film trade are missing the fire that we would usually witness on the I-Day weekend. It’s unfortunate that we are shut this year, but hopefully, that will change soon.”

Yogesh Raizada, Corporate Head, Wave Cinemas, says, “While August 15 is reserved for a single major release, last year, we had two movies — Batla House and Mission Mangal. I’ve been in this business for almost 30 years, and I remember that I-Day has always been a big day for cinemas. Every year, we would have over 80-90% bookings for I-Day. And with anticipated releases, such as a Salman Khan or an Akshay Kumar film, we would have 60-70% advance bookings. This year is a historic low for the industry, as theatres have never been shut on I-Day in the last 25-30 years.”

EXHIBITORS UNSURE IF BUSINESS WILL PICK UP BEFORE THE NEXT NATIONAL HOLIDAY
Exhibitors say that even if cinemas reopen, they are “unsure if they will be housefull even during the next national holiday.” They are not very hopeful about Diwali, while some are even unsure if business will pick up by January 26, 2021. Tinku Singh, Group President, SRS Cinemas, says, “Ticket bookings for I-Day releases are usually high because of the holiday. And, with Raksha Bandhan and Janmashtami falling around August 15 every year, an I-Day release would usually mean a weekend release. Cinemas have special pricing for such profitable weekends, but this year, the box office has been shut. Back in April-May, we didn’t expect that we won’t be operational even in August. Now, I don’t know if we’ll even reopen by January 26 next year.”

With inputs from Rachana Dubey

Rakeysh Omprakash Mehra, Shoojit Sircar and Nikkhil Advani share their perspective on patriotism and how the sentiment has been expressed differently in our cinema
Rachana Dubey (BOMBAY TIMES; August 15, 2020)

On Independence Day, filmmakers Rakeysh Omprakash Mehra, Shoojit Sircar and Nikkhil Advani participated in a discussion on the Bombay Times Talk Show about the depiction of patriotism in Hindi cinema. Over the years, Rakeysh has helmed films like Rang De Basanti (2006), Delhi 6 (2009) and Bhaag Milkha Bhaag (2013), all of which had uniquely linked events of national and historic importance with an entertaining narrative. Shoojit debuted as a filmmaker with Yahaan (2005), a drama set against the backdrop of Kashmir. He also helmed Madras Cafe (2013), a partreal-part-fictitious account of the disturbance in the Tamil Nadu region at the turn of the 1990s. Nikkhil directed DDay (2013), a precursor to several films in the future that would talk about bringing

India’s Most Wanted terrorist to book. He also directed Batla House (2019), which was widely appreciated for its balanced narrative of the much-debated Batla House encounter in Delhi. Excerpts from our conversation with the trio:


PATRIOTISM MEANS DIFFERENT THINGS TO DIFFERENT PEOPLE: RAKEYSH OMPRAKASH MEHRA
To begin with, it is very sad that a subject like Rang De Basanti remains relevant even today. What inspired me to make that film was my experience while growing up. I can’t define patriotism, because it means different things to different people. It was not patriotism, but something to do with the state, which was the villain in my film. We had had enough, and we had to say something. I wouldn’t call Rang De Basanti a patriotic movie. Patriotic film is a label; a film like Rang De Basanti or Shaheed (1965) works on different levels. A movie is a movie, and it’s a story. Thumping your chest and saying that your film is patriotic, is jingoism. If I had to, I would still make Rang De Basanti today. The struggle to make the film is not important. It’s the voice of the film that matters. Films need to be made when they are not allowed to be made. Thinking that patriotism is winning against someone, defeats the very idea of patriotism. Shoojit Sircar’s Madras Cafe belongs to a voice and to the people; not to any state. That is a true patriotic film. I have never understood defeating another nation as patriotism. Also, when we are making films, we come from a place of responsibility. Let the expression of those who can express prevail. I don’t want any filmmaker to be misunderstood when he talks about freedom of expression; the mention of that leads to a debate. When I was making Rang De Basanti, someone said that we were doing some politically incorrect things in the film. In my naivety, I told the person that filmmaking is not about being politically correct; it’s about being humanely and emotionally correct.


IT’S NEVER EASY TO MAKE FILMS THAT QUESTION THE SYSTEM: SHOOJIT SIRCAR
We are all storytellers, and we want to tell stories that compel us. Madras Cafe didn’t release in Tamil Nadu, Malaysia and Canada. It had deferred releases in Singapore and London, because the issue at hand was so sensitive. It was not an easy film to make. It was a true story, but in our country, we are not as democratic with cinema as the West is. We still can’t talk about things that are already in the public domain in one form or the other. It’s never easy to make films that question the system. As filmmakers, we are also responsible individuals and conscious citizens. We are not here just to show some glamour. That part of us is always overlooked by different sections of people. We are conscious of our social reforms and what is happening around us. One has to give it to our rational judgement, too. We are lawabiding individuals. So, even if I talk about freedom to express, it is never absolute. It has its own discipline.


WHEN I TALK OF PATRIOTISM, I AM INTERESTED IN THE FREEDOM TO SAY WHAT I HAVE TO SAY: NIKKHIL ADVANI
When I was making D-Day, I had to haggle for every rupee. Also, I was not allowed to use the name of the individual, but I got all the threats, and I had to get security. It’s not easy to make such films. Every time that we are thinking of a subject, we have to analyse what we can keep and what we can’t, and what the repercussions could be. Patriotism, to me, is a very personal thing. However, today it is being defined by people who assess it on the basis of what you do or don’t do. Not conforming to certain ideas makes you an anti-national, which is not the way to look at things. Filmmakers are always soft targets, who are constantly reminded about what they have to do or what they can do.

When we are talking about something that can polarise public opinion, people have to understand that we do it with even more caution. We think harder on whether we should do it or not and how we should go about it. We’re constantly being told about the repercussions. Eventually, we are here to tell stories, and we do it with absolute responsibility. When I talk of patriotism, I am interested in the freedom to say what I have to say. Not having that, will only drive filmmakers away from narrating difficult, and yet very important stories.

As told to Roshmila Bhattacharya (MUMBAI MIRROR; May 1, 2020)

Today, a scene from my 2013 film, D-Day, flashes through my mind. Irrfan (Khan) looking at Chintuji, and laughing, amazed that they had finally managed to capture this much-wanted terrorist, despite their carefully-laid plans having failed. I remember Irrfan urging me to let the camera continue to roll, and what emerged was this moment of delicious irony.

We were shooting in the desert and while Irrfan and a lot of team bunked out in tents, Chintuji would drive two hours back to the hotel. He was averse to early morning shoots, but there was this sunrise shot we had to shoot with him and he was refusing to comply, saying, “I’m an actor, not a doodhwala.” Irrfan finally managed to convince him to spend the night in the desert with us with the promise of Chicken Jungli and alcohol. It was a near-impossible feat in Kutch, but he delivered on his promise and I got my shot.

Chintuji’s bungalow and our building in Bandra shared a common boundary wall. Every evening, while returning from R K Studios at 7.30 pm, he’d look out for my car, and if he saw it standing, he’d call me and invite me over for a jashn during which he would berate me for that Friday’s release, even when I reminded him I had not made the film. To be fair, he was also wowed by a few young filmmakers. My own Chandni Chowk To China’s trailer had impressed him. He’d called all his friends to say the film was another Sholay and I was the next Ramesh Sippy. After its release, I got an earful from him, saying I had made him look like a ch****a. More recently, he called me from New York, saying “Just saw the Batla House trailer… Fabulous”. Then, adding, “Par trailer toh tu hamesha achcha hi kaat ta hai, hope you’ve not f***ed up the film.”

On Wednesday evening, after speaking to his secretary, Shantiji, I messaged him, “I heard that you are unwell. Prayers and wishes for you always, sir.” The next morning, he was gone...our jashns are over.

Harshada Rege (BOMBAY TIMES; April 24, 2020)

He is an actor, who has been seen leading content-driven films like Madras Café (2013), Batla House (2019) and Parmanu: The Story of Pokhran (2018), as well as backing some of his projects. In fact, with Vicky Donor (2012), John Abraham was one of the first actors from the big league to produce a film featuring another actor (Ayushmann Khurrana). And, he always insists that as an actor, “it’s important to do all kinds of films.”

Talking to BT about it, John said, “When people see a film made by my production house, they should know that they will get to see something different. But as an actor, it’s essential to do all kinds of films. Movies like Pagalpanti (2019) and Satyameva Jayate (2018) are the ones that I want to purely act in, whereas films like Parmanu and Batla House are the sorts that I will produce and act in.”

Given the business of Bollywood, producers attempt to make films on a tight budget to ensure higher returns. So, when we asked John whether it would be profitable to produce all the movies that he stars in, he said, “I want to have a specific brand identity. It would be easy for me to rake in the moolah and be the producer for a film like Satyameva Jayate 2 (the first one worked at the box office). But I won’t do that, because the idea is to build your brand as an actor with some films, as a producer with others and as an actor-producer with some. I am very clear about what I want to do. I have been that way since the time I produced Vicky Donor (2012).”

The actor-producer has often spoken about how creating projects for other actors excites him. He added, “The thought is not to power a film with my presence, but to create something entirely new. My vision is to tell great stories through films, but not necessarily with me in all of them.”

Though John is keen to do all kinds of films, there’s one genre that the actor will never attempt, and another that he is eager to do, but hasn’t explored so far. “What I can never do is an adult-comedy, because I am not comfortable with it. It’s something I can’t act or even produce. What I would love to do is a horror film; that’s a space I am keen to explore,” he signed off.

Mrunal Thakur on her dream run at the movies and playing Shahid Kapoor’s better half, mother to a young boy in the Jersey remake
Himesh Mankad (MUMBAI MIRROR; April 2, 2020)

Mrunal Thakur admits that 2019 was a dream year for her. The actress grabbed eyeballs with her performances in Super 30, a biopic on math whiz Anand Kumar, and the cop-drama Batla House. She is still in touch with both her co-stars, Hrithik Roshan and John Abraham respectively, who are very encouraging and appreciative of her work. “I can’t believe, it’s almost a year since I shot for both films,” Mrunal admits, adding that after the encouraging reviews, the responsibility of delivering consistently has increased.

The actress has two sports-dramas coming up this year—the first one being the official remake of Nani’s Telugu hit, Jersey, with Shahid Kapoor. “He’s a sweetheart and always supportive,” says Mrunal, who has watched the original and now, when on the set, is often consulted by the director for inputs.

The Gowtam Tinnanuri directorial sees the protagonist—a retired cricketer trying to make it to the national teamage from his early 20s to mid-30s. Shahid and Mrunal play parents to a young boy and the actress is unfazed by the prospect of on-screen motherhood. “I’ve met girls who had kids in their early 20s. Even I played a mom of two in a commercial when I was 18. It’s just acting,” she says nonchalantly.

There’s also Rakeysh Omprakash Mehra’s Toofaan, which features Farhan Akhtar as a boxer and Mrunal as his ladylove. “We shot most of the film in one go in Mumbai so the flow wouldn’t break,” she informs. “My character has a certain graph, and music is helping me prep.” The song “Her Grace” by Maverick Sabre allows her to live out the character and underlines the film’s vibe. “Music is my biggest weapon on a set,” she says, acknowledging that the challenge while juggling Jersey and Toofan was to make both characters distinctly different. “It’s tough to do one thing in different ways.”

The actress ends the year with a quirky comedy, Umesh Shukla’s Aankh Micholi, which rides on an ensemble cast, including Paresh Rawal, Abhimanyu Dassani, Sharman Joshi and Divya Dutta. “We completed the film in two chunks, in Europe and Patiala. It’s a fun film where characters with great flaws come together under one roof. Watch out for our mad house,” she signs off with a laugh.

There final classifications of 2019 were as follows as the year delivered 19 HIT films and nine of them of being major HITS. There were further six successful films and then two Below Average films. The year was dominated by Akshay Kumar with three of the top six hits belonging to him.

There was an ALL TIME BLOCKBUSTER film in 2019 also but that came from Hollywood with AVENGERS: ENDGAME. However, despite doing 363 crore nett business, the footfalls of KABIR SINGH were still more than AVENGERS: ENDGAME. KABIR SINGH and WAR were the only films to go over 2 crore footfalls and no film even came close to 3 crore.

The final classifications of films released in 2019 with distributor shares in brackets are as follows.

All Time Blockbuster 
-

Super Blockbuster
1. Kabir Singh (135 crore)

Blockbuster
2. War (151 crore)
3. Uri: The Surgical Strike (101 crore)

Super Hit
4. Housefull 4 (104 crore)
5. Good Newwz (96 crore)
6. Mission Mangal (94 crore)
7. Chhichhore (66.50 crore)
8. Dream Girl (65 crore)
9. Bala (50.50 crore)

Hit
10. Saaho (Hindi) (77 crore)
11. Total Dhamaal (75 crore)
12. Kesari (74 crore)
13. Super 30 (70 crore)
14. Gully Boy (66 crore)
15. Batla House (41.75 crore)
16. Luka Chuppi (41.50 crore)
17. Badla (39.50 crore)
18. Pati Patni Aur Woh (37 crore)
19. Article 15 (28.50 crore)

Semi Hit
20. Bharat (102 crore)
21. De De Pyaar De (44 crore)
22. Mardaani 2 (21.75 crore)

Average
23. Manikarnka - The Queen Of Jhansi (43 crore)
24. The Accidental Prime Minister (11.25 crore)
25. The Tashkent Files (5.50 crore)

Below Average
26. Student Of The Year 2 (32 crore)
27. Marjaavaan (22 crore)

Striking a fine balance between reality and dramatisation is no mean feat for filmmakers
Titas Chowdhury (HINDUSTAN TIMES; February 27, 2020)

Reality never fails to fascinate Bollywood. Last year, a number of stories such as Uri: the Surgical Strike, Mission Mangal, Gully Boy, India’s Most Wanted, Article 15, Batla House and The Sky Is Pink were rooted in reality. A similar trend is noticed in the web space. Series based on real events such as Delhi Crime, Rangbaaz, Jamtara – Sabka Number Aayega, Kaafir and The Forgotten Army are being talked about.

Among the movies released this year, Chhapaak (inspired by the life of an acid attack survivor), Tanhaji: The Unsung Warrior (based on the life of Tanaji Malusare, a military assistant of Maratha King Chhatrapati Shivaji) and Shikara (based on the exodus of Kashmiri Pandits from the valley), stirred the fact versus fiction debate once again. We have a number of reality based movies set for release later in the year. The extent to which creative liberties can be taken becomes the core of the discussions, as there’s always the fear of hurting the sentiments of communities and families of the subjects involved.

Nikkhil Advani, who directed Batla House and has shot for a web series based on 26/11 attacks, says it’s an “everyday battle” for filmmakers to find a balance between facts and taking creative licenses. “I find my inspiration in such stories. Fact is stranger than fiction, which allows the filmmaker in me to do a lot of research. The biggest challenge is to maintain a balance. Bollywood is a dramatic genre, especially when you’re working within the mainstream space. There’s a responsibility to be true to the story and due approvals are needed from the person and their family. We can’t push the envelope too much,” he says.

Sanjay Gupta, who wrote Shootout At Lokhandwala (2007) and is now directing Mumbai Saga, the story of Bombay becoming Mumbai, shares, “My obsession with real life stories started with Shootout At Lokhandwala. We have such amazing incidents in our own city which need to be told. As a filmmaker, my process is to first collect the material which includes speaking to the people and their family and do an extensive research which is turned into a screenplay,” he says. The filmmaker adds that one needs to stay true to the incident and also make it entertaining, or else it will turn into a documentary. “When we say ‘entertaining’, it doesn’t mean adding comic sequences or songs, it’s about taking certain creative liberties within the given parameters,” he says.

Director Hansal Mehta just wrapped up shooting for a web series titled Scam 1992, based on financial crimes that took place in the 1990s and 2000s. “Within the boundaries of time and cinematic language, we have to convey the essence of the characters and their journeys. A filmmaker imagines his version of a story based on available resources. While writing a script, I think what the story and the characters mean to me at a personal level. With different stories, there are different kinds of accuracies that one want to achieve,” he explains.

Actor Ajay Devgn, who’ll be seen in Bhuj: The Pride Of India, based on the reconstruction of the IAF airbase with the help of local women, believes that sources often lack information and thus the responsibility lies with the makers. “It’s tough to tread that thin line of realism, justify the characters and still be imaginative enough to dramatise the characters ,” he says. Filmmaker Meghna Gulzar, known for Talvar (2015), Raazi (2018) and Chhapaak, says, “I don’t take creative liberties and my films are proof of that. If a need is felt to make a film more cinematic, we play around with the timeline of the events and not make it chronological. You can add dimensions to a character without distorting the essence of their personality. There’s always an essence of reality in our films, books and literature.” Gulzar, who is busy with a project based on Field Marshal Sam Manekshaw, adds, “It isn’t a biopic strictly in the sense of the term. It’s like a take on the life and the times of Sam Manekshaw.”

Actor Kirti Kulhari, who was seen in Uri and Mission Mangal, believes there is nothing fictional about telling human stories. “I do projects that are kind of real, or based on human relationships,” she says.

List of upcoming Bollywood films:
- Bhuj: The Pride Of India
- Attack
- The Big Bull
- Mumbai Saga
- Bell Bottom

List of upcoming web series:
- Nikkhil Advani’s web show on 26/11 attacks
- Scam 1992
- Konkona Sen Sharma’s web show on Arati Das

John Abraham weighs in on risks of being in a character for long, says box office collections key
Nishad Neelambaran (HINDUSTAN TIMES; January 18, 2020)

He has worked in a variety of films, but John Abraham has always been identified with his macho characters. Films such as Dhoom (2004), Force (2011), Parmanu: The Story of Pokhran (2018), Satyameva Jayate (2018), Romeo Akbar Walter and Batla House (both 2019), have only carved a niche for him. The model-turned-actor, who ended the last year with Anees Bazmee’s Pagalpanti, talks about how actors need to be socially responsible, why it is fair to judge a movie by its box office collection, and more. Excerpts:

How do you switch from a serious role to a lighter one?
It’s tough. I did Pagalpanti after Batla House. I remember in the first few days of Pagalpanti, I went to Anees, and told him I need time. It took me two to three days to find my space. It is easy to impress people with action sequences... something I can do in my sleep. But making someone laugh is all about comic timing. Fortunately, I learned it early in my career.

As an actor, do you like to live with the character?
I do take the character home if I am doing an intense film. Like ACP Sanjeev Kumar, in Batla House, I lived with that character for a very long time. There is a fear of losing your identity at times, it’s scary.

It is 18 years since your debut, how has the journey been?
It’s been interesting. The best part is that I’m a very secure person. The language and audience of the films have changed, and today’s audiences accept the films I do.

Does the actor in you still get nervous before the release date?
Not at all. When I give the first or second shot of a film or when I sign up for it, I know the kind of business it will do. At times, I know it will be a sub ₹50-crore movie, but I’ll still do it.  

Will we see you in the digital space any time soon?
I would find it, at least at this point of time, a little difficult to move into the digital space. I’ve made it very clear to people that John Abraham means large screen.

Do you think it is fair to judge a movie by its box office collections?
A film has to be commercially viable and that’s how the trade gauges you. But more than the money it makes, let me use the right term — return on investment (ROI). If I make my film for ₹30 crore and it makes ₹100 crore, it’s fantastic. But if I make my film for ₹200 crore and it makes ₹200 crore, it’s not really fantastic.

As an actor, how important is it to be socially responsible?
It is extremely important. We are a country where 60-65% of our population is below the age of 40. You are not just a model, you are a role model here. Say the right things and shut up if you don’t know what to say.

Do you feel the way women are portrayed in Bollywood has changed over the years?
Satyameva Jayate had an item song. Sometimes you have to do things according to what the film demands. I want to make socially relevant films, but we’re yet to come to a time when studios won’t say, ‘The numbers on this film are going to be this much if it’s a woman.’

John Abraham says that being a producer, he is in a position to not only back, but also be a part of different kinds of cinema
Prashant Singh (HINDUSTAN TIMES; December 3, 2019)

Just like his filmography as an actor is a perfect cocktail with a blend of genres, John Abraham, like a skilled mixologist, has always tried to mix up his film choices as a producer, too. While his maiden tryst with production happened with Vicky Donor in 2012 (that launched Ayushmann Khurrana in Bollywood), he went on to back ‘different’ films such as Madras Café (2013), Parmanu: The Story of Pokhran (2018) and this year’s Batla House.

John, on his part, believe that joining the producer’s bandwagon has put him in a strong position. “By becoming a producer, I’ve put myself in a position to back as well as be a part of different kinds of cinema. Earlier, I couldn’t do it as I didn’t have a choice. But when I became a producer, I decided that I’m going to speak my voice and tell the stories that I want to. That’s why I’ve done films like Vicky Donor, Madras Café, Parmanu and Batla House. I really enjoy this space as an actor-producer,” explains John, whose next production, Attack, has recently been announced.

There has been an evident shift of sorts in terms of his film choices after Dostana (2008). “Again, I think what has changed, is me becoming a producer. After I became one, I started choosing films that I really wanted to do,” says the actor, adding that his decision to also dabble into production directly affected his journey as an actor, too.

“I strongly feel that when other people (filmmakers) saw and felt that I can ‘think’, they decided to offer me films that actually put me in the space of a ‘thinking actor’. That’s why, if you see my filmography — before and after becoming a producer — my trajectory as an actor is far better now than how it was earlier,” he says.

Now, as John readies to “get back into the full-fledged action mode” with the 2020 Independence Day weekend release, Attack, he seems content with what’s on his plate.

“If you look at the content that I’ve created over the last three to four years or the next seven or eight films that I’ve lined up, they are all in a very sweet spot for me,” he says.

Another element that seems to have found its way into John’s films, and has impressed the audience, too, is his love for India. “See, I love my country a lot. You can say that I’m obsessed about India. But it’s clear to me that I’m a patriotic person, and not nationalistic. Nationalism or being nationalistic is loving everything about your country, irrespective of what it does. And patriotism is when you love everything about your country because of its virtues, but at the same time, you also have the capability of criticising things that are not right,” he says.

Kavita Awaasthi (HINDUSTAN TIMES; December 1, 2019)

Mrunal Thakur is basking in the success of two hit films — Super 30 opposite Hrithik Roshan, and Batla House co-starring John Abraham. But other than box office success, she has also been overwhelmed with the love that she has been receiving from the audience. “I have got so many marriage proposals on social media post Super 30 and Batla House. Messages that say, ‘Can I marry you?’, ‘You are the perfect wife material’, ‘I am crushing on you’. Such messages are so sweet and I have never heard or received reactions like this before. It is wonderful. I remember, once I was returning home after pack up of my film, this teenager met me and literally jumped on me. She gave me a tight hug and kept calling me Bulbul, the name of my character from my last TV show. When people show such unadulterated love, personally or via messages, I don’t know how to respond,” says the Love Sonia (2018) actor.

Talking about her personal love life, she says, “Love is important and I am waiting for it. I really want to fall in love. I want a man who can cook and sing for me (laughs). I want him to travel with me as I love to travel and he has to make me laugh.”

Mrunal has a number of films in her kitty. She is shooting for Rakeysh Omprakash Mehra’s Toofan, co-starring Farhan Akhtar, a horror anthology film called Ghost Stories and the Telugu remake of Jersey, starring Shahid Kapoor. She points out that she has a long way to go, “but one actor who is on my wish list is Ranveer Singh. He is a fabulous actor and bagging a film with him would be mind blowing”.

Nishad Neelambaran (HINDUSTAN TIMES; November 30, 2019)

After a break of almost two years, actor, director and producer, Divya Khosla Kumar made a comeback in the music video of Yaad Piya Ki Aane Lagi. The song, which is a recreation of Falguni Pathak’s ’90s hit, Chudi, has garnered more than 64 million views on YouTube. Divya, who featured in the video, says that it was truly amazing to be part of the recreation of this iconic song. “It is coincidental that it was directors Radhika (Rao) and Vinay (Sapru), who got me into the industry. They had selected me from an audition with over 1,000 girls in a Falguni Pathak video in Delhi. And now that I am beginning with acting again, I am working with them in another Falguni Pathak song,” she says.

Divya, who has directed movies such as Yaariyan (2014) and Sanam Re (2016), says that she is in a completely different frame of mind while acting. She says, “Though I have donned multiple hats, my frame of mind while acting is completely different from my frame of mind while I am directing. As an actor, you have to trust your director and their vision. It is the director who is the captain of the ship and I don’t believe in interfering in that.”

So, was it a conscious decision to stay away from acting for the last two years? Divya says, “It wasn’t a conscious decision. I am a workaholic and I love working in this industry. I am very passionate towards this field. I was getting a lot of offers to direct, but I always felt that I should focus on acting. I was waiting for the right opportunity to come my way. Nikhil Advani, Monisha Advani and Milap Zaveri saw Bulbul (short film that she directed) and they offered me Satyameva Jayate 2. I am very excited to be on board for that project and I hope it won’t be so long a wait further on. And whatever I get, if it’s good, I will take it. I am concentrating on acting now.”

About how things have changed due to digitisation, she says, “I think people only watch songs or movies on digital platforms. Digitisation has changed the rules and it is also good because if anyone wants to show their talent to the world, they can just upload it on these platforms and you never know, it might just get viral. It has made things much easier and it has brought the world closer.”

Divya, who will next be seen opposite John Abraham in Satyameva Jayate 2, says, “I am super excited to be working with him. He completely amazed me with his performance in Batla House.”

John Abraham discusses why he followed up his hard-hitting offerings with a laugh riot in Pagalpanti, makes a case for mindless comedies
Sonil Dedhia (MID-DAY; November 21, 2019)

Pagalpanti almost immediately stands out in John Abraham's resume — after all, the actor seemed to have found his niche in patriotic films that included Parmanu: The Story Of Pokhran (2018), Satyameva Jayate (2018) and Batla House. Tell him it's surprising to see him in a comedy, and he says the Anees Bazmee-directed venture was a much-needed change for him.

"As an actor, I needed a break from serious cinema," begins Abraham, alluding that difficult projects such as Batla House take an emotional toll on an artiste. "That's why I wanted to do a film that would make me as well as the audience happy. With Pagalpanti, the idea was to make a movie that would be suitable for all age groups. It doesn't have double meaning jokes, exposure or bloodshed."

At a time when the emphasis is on content rather than stars, isn't he apprehensive about being part of a mindless comedy? "I am sure films like Total Dhamaal and Housefull 4 got a lot of negative reviews and criticism. But the audience saw them, and both fared well commercially. So, I believe there is space for all kinds of films today," he says, adding that cracking the genre isn't as easy as one might believe. "I had just wrapped up Batla House when I started shooting for this film. So the first two days were difficult for me. I had to shift gears completely as comedy is the toughest genre in the business. But Anees bhai and the entire cast was supportive."

Rachana Dubey (BOMBAY TIMES; November 19, 2019)

John Abraham and Bhushan Kumar are in a happy space as creative collaborators. After Satyameva Jayate (2018) and Batla House, their third outing together, Pagalpanti, is ready to hit cinemas this week. Ahead of that, they spoke to BT about what makes their equation work and why, despite two hectic years ahead, they believe that they will not reach a point of burnout. Excerpts:

In the last 18 months, you have collaborated on two films — Satyameva Jayate and Batla House — and Pagalpanti is the third in line. There are half-a-dozen films more in the offing, too. What do you think has cemented your equation as partners?
John Abraham: Bhushan has been extremely forthcoming and he has the desire to be involved creatively with projects. He has transitioned from being the baron of a music label to a creative producer, who is not afraid to take risks and back films that are daring and unique. Batla House is a case in point. People would have thought a thousand times over about backing it, but he went right ahead, and put his money where his mouth is. Our association has been organic because we never set out with a plan. Today, if I find something that I want us to do together, I reach out to him. If it doesn’t work for him, we leave it there. There’s no compulsion, ever.
Bhushan Kumar: I feel very comfortable working with John and he’s right when he says that ours is an organic relationship. He gives the producer his due space. Actors who are also producers often take over the project completely and don’t allow producers to have a say. Here, we are on the same page. After Pagalpanti, we have Mumbai Saga, Satyameva Jayate 2, an untitled film with Arjun Kapoor and Rakul, Attack and another one that we will announce soon. This can happen only when you build an equation of trust and respect.

One places trust and respect in any equation only after it has stood the test of time. How did you guys go about winning each other’s trust?
John: I think you can place trust and respect in the other person, especially in a work equation, when he or she displays transparency at all times. Bhushan has been in the industry for longer than I have and we both have been cheated on several occasions. Transparency is something that I insist on, and I respect immensely. If there’s an issue, he’s always there to back me up. When we make a commitment, we stand by it. He has displayed the courage to back a creative producer like me who only goes after tricky subjects. I don’t have the power to propel a project like Bhushan, but his sensibilities as a producer match mine. He helps me secure that new space that I’m trying to tap into in the best way possible. Studios are about balance sheets, board of directors and paperwork, but I have a one-to-one relationship with Bhushan. If I tell him why our project will be slightly more expensive, he will hear me out and we will find a way to make things work.
Bhushan: John takes my word for it because I’ve always lived up to my word. He believes me and has shown faith in my work. This industry works on relationships and no relationship can survive without mutual trust. John is a straightforward guy and he gets really upset when someone breaks his trust. Our comfort level grew over time, it didn’t happen overnight. And the kind of comfort I have while working with John is different from what I have with other actors. He’s an actor-producer, and he understands what viability of a project is. Other actors would probably see that as us trying to cut corners for the sake of it. John knows the math, and he understands how and why we’re trying to work around our costs.

Is this the reason you wanted your wife Divya Khosla Kumar to make her acting comeback with John?
Bhushan: Not entirely, but yes, my equation with John is one of the reasons I was happy for Divya to make her comeback with him in Satyameva Jayate 2. She’s also very comfortable with the team, she knows Nikkhil Advani and his family. She knows John very well. She knows how Milap Zaveri works. Everyone was happy to have her on board. As her husband, Divya’s comfort is of prime importance to me.

John, you’ve had a fairly long spell of serious films and they seem to be working for you. Why did you decide to then digress into a comic caper with Pagalpanti? Bhushan, did you ever have second thoughts about his decision?
Bhushan: Once the audience accepts an actor for his comic timing or for his serious outings, it makes life easy for a producer. John has been accepted in both. It’s like Akshay Kumar, who does a lot of serious films, but he balances it with a comedy film. He can do that because he is accepted in both spaces. John has done that, too. So, I am not at any risk. I’ve seen Pagalpanti and I think the title is apt. Anees Bazmee has made a full-fledged comedy. I was actually excited about it from the time John told me about it. I called Kumar Mangat ji, and joined forces with him on this one.
John: It’s true that I have been doing serious films for a while. I really wanted to give myself a break from that and I am also a big Anees Bazmee fan.

Comedies are often accused of lacking a credible story and the narrative relies mostly on one-liners and the actors’ comic timing. Was that ever a concern here?
John: Not at all. Pagalpanti has a relevant plot, apart from being very entertaining. Fugitives have escaped our country after looting our banks and robbing thousands of middle-class people of their savings. Our film uses this as the core story. In an entertaining way, we are giving out a message to the audience. When you see characters running around the streets of London in circus outfits, you can’t figure out what’s going on. But it’s a good story, which in a weird manner, is patriotic.
Bhushan: I was game for all this craziness. It’s not a tricky film for a producer to back. It’s a well-rounded film with so many elements and such good actors. After backing Batla House and Kabir Singh, this film feels pretty cool.

Over the next two years, you already have films like Mumbai Saga, Satyameva Jayate 2 and Attack lined up. While churning out one film every quarter, do you fear that your equation might reach a state of burnout?
John: We approach each other only when we find something really striking. Both of us are not in a hurry to bring out projects. Our films are getting green-lit pretty organically. He believes in my process and he knows I will not approach him because I want to create a slate of films with him.
Bhushan: Luckily, even though we have a string of projects together, we’re doing some very cool films, which are all in different spaces. There’s no room for monotony and so, I don’t see a burnout situation, ever.