Jhund marks Sairat director Nagraj Manjule’s directorial debut in Bollywood. The film helmed by him is headlined by Amitabh Bachchan and backed by producer Bhushan Kumar. The movie, based on the life of Vijay Barse (played by Amitabh Bachchan), who founded the NGO Slum Soccer, hits the big screen on March 4. In an exclusive chat with BT, Nagraj Manjule and Bhushan Kumar talk about what makes Jhund special and their association of mutual trust and admiration. Excerpts:

Nagraj Manjule: It is a comment on perception. What might seem wrong to you, could be right in my eyes. Similarly, what I see as a team, people perceive as jhund. The film revolves around the lives of slum dwellers and how we tend to judge people on the basis of their background and looks. For instance, a dark-skinned person is often assumed to be a villain, while a man with innocent looks is assumed to harbour no ill intentions. Jhund addresses these stereotypes. Besides, Bachchan sir hain toh yeh film automatically badi hai mere liye.

Bhushan Kumar: It’s been almost three-and-a-half years since we started making the film. Several opportunities came our way to release it on an OTT platform, which has become an extremely powerful medium with an impressive viewership. But when Nagraj ji showed me the film during the lockdown, everyone in the team felt strongly that we should hold the film back for a theatrical release. Nagraj ji is the creative person behind the film, and he was certain ki yeh bade parde ki film hai, aur wahin aani chahiye. As a producer, I have to support him and respect his vision.

Bhushan: This movie doesn’t belong to the thriller, comedy or action genre, which generally tends to become dated after a couple of years. This is a reality-based story adapted by Nagraj ji, so the film becoming dated was out of the question. No one can predict how a film will fare at the box office, but as a producer, you must have conviction about your product as well as the interests of the director at heart. I kept him informed about the OTT option, but he had made up his mind about the film releasing in theatres. As producers, we should also take steps to ensure the smooth functioning of theatres. Theatres khatam nahi hone chahiye. It’s a good sign that the fear of watching a film in theatres, owing to Coronavirus, is reducing.

Nagraj: I am a fan of Bachchan sir and have admired him since my childhood. Main jab chhota tha tab Bachchan sir ke jaise shirt ko gaanth maar kar school mein jaata tha, aur maar khaata tha uske liye. I must have watched all his films. It was beyond my imagination that I would ever be able to work with him. However, things fell into place when I pitched an idea to Bhushan sir and everyone felt that it could be developed with Bachchan sir playing the central character. I wanted to flesh out the story before approaching him. So, Jhund is the first film for which I have developed a script keeping the actor in mind. I usually follow a different process because there is an inexplicable pressure and fear when I have to decide on an actor before writing. That should not be the case, because if you like what you write, you can work on the project more confidently.

When I heard a brief narration of the story, wahin se main iss film ke saath jud gaya tha. Hum content se judte hain. As a studio, we make all kinds of films, including action and massy entertainers. Hum Jhund bhi banaate hain, Thappad bhi banaate hain aur Kabir Singh bhi. Jhund mein humne football aur slum ke bachhon ki duniya dikhaayi hai. The kids cast in the film are those who live in the slums. The actors are real. We haven’t taken any established actors for kids.

Nagraj: These kids meet the requirement of the characters. My brother, who does the casting for me, spent two months in Nagpur and went around the slum settlements. We must have auditioned 600 children, who knew how to play a bit of football. They underwent a prep for around one-and-a-half years. When you watch the film, you will get a glimpse into their reality and background.

Nagraj: It’s extremely encouraging. On many occasions, there are financiers who come on board as producers. It helps if a producer is also creatively inclined and isn’t just thinking about making money. It’s a pleasant surprise that someone with immense knowledge about the business aspect of filmmaking isn’t just looking at it as a business prospect. He never asked me how the film was shaping up and visited the set only once.

Bhushan: Not everything is just about the money in business. Thankfully, we have enough funds, and I don’t need to put in so much effort. It can result in tunnel vision. So, it’s not always the money. It is also about a feeling of pride, and Jhund evokes a sense of pride in you. I am positive about Jhund, as Nagraj ji has made a very good film and I am sure we won’t be in losses.

Bhushan Kumar on taking De De Pyaar De forward, spinning a franchise around Sonu Ke Titu Ki Sweety and several South films whose remake rights he wants to buy
Himesh Mankad (MUMBAI MIRROR; May 7, 2020)

The film industry came to a standstill following the lockdown on March 19, which was imposed in light of the Coronavirus outbreak. Filmmaker Bhushan Kumar had a dozen films gearing up for release this year and half-a-dozen ready to roll in April, May and June. While the Satyameva Jayate sequel, fronted by John Abraham with Divya Khosla Kumar, was to kick off last month in Mumbai, Bhuj: The Pride Of India was in final leg of shooting. “Yes, it’s a financial blow, but then, the whole world is suffering. Luckily, we don’t take loans from banks, so the interest isn’t mounting. At the moment, none of us know when this will end. Even after normalcy returns, it is not clear if the audience will visit the theatres or the fear factor will stop them,” he points out.

Talking about his projects, Bhushan informs that there is about 10 days of work remaining on Bhuj, which will be completed once shooting resumes. “But the big question is whether we can arrive on August 15 as scheduled,” he admits.

Set against the backdrop of the Indo-Pak war of 1971, the film features Ajay Devgn as a squadron leader on the frontline. Sanjay Dutt, Sonakshi Sinha and Nora Fatehi are part of the ensemble cast. Bhushan and Ajay’s last collaboration, Tanhaji: The Unsung Warrior, is the year’s biggest grosser so far and the filmmaker admits to slight nervousness because of the huge numbers. “Bhuj is looking good and since people want to see real cinema, we hope to live up to the expectations. But first, we need the pandemic to go away,” he maintains.

Meanwhile, another Ajay-starrer, the Akiv Ali-directed 2019 rom-com De De Pyaar De, had hinted at the possibility of a sequel by way of its climax. The comedy of errors, set in London, revolved around a 26-year old go-getter, Ayesha (Rakul Preet Singh), who falls in love with a 50-year old businessman, Ashish (Ajay Devgn). The twist in the tale comes when she insists on her meeting his estranged wife Manju (Tabu) and grown-up children in India. Part 2 is expected to have Ayesha introducing her family to her 50-year-old beau. “Yes, Luv Ranjan and I have a sequel in mind for De De Pyaar De,” Bhushan confirms.

Another Luv Ranjan film is set for a return. “We are definitely doing Sonu Ke Titu Ki Sweety 2, it’s a great franchise to take forward,” Bhushan shares. The 2018 bromance comedy was a game-changer of sorts for the team that put it together, propelling Kartik Aaryan into the big league.

While cooped up at home, Bhushan is also watching South films. “We have shortlisted a few and once things get back on track, we will buy the rights,” says the filmmaker, who has received some lovely songs from upcoming composers, singers and lyricists, which he promises to incorporate in future projects. “They say music has healing powers, and we are trying to put out as much content as we can, till we all return to our normal lives. I am glad that our music is topping even international charts.”

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.

Neha Maheshwri (BOMBAY TIMES; May 4, 2019)

T-Series, which was once known for mainly churning out albums and dominating the music industry, has today become a prominent name in the business of filmmaking, too. Bhushan Kumar, head honcho of the company, talks to us about cracking the code in the movie business, producing films with big stars as well as backing fresh talent and small-budget movies, and the new generation that’s lured by remixes. Excerpts:

You have an interesting mix of as many as 15 films lined up this year. How involved are you in each of these projects?
Movies were one of my father’s biggest passions. He wanted the company to become a leading production house in the country. Like any other son, even I wanted to fulfil my father’s (Gulshan Kumar) dream after I took over around 21 years ago. It was my idea to move to films after taking over the company, which was primarily about music. I have tried my level best to achieve that and I think I have accomplished what I set out to do. I would say that Aashiqui 2 (2013) was the turning point for me. The film was a huge success and its music was a hit, too. Thereon, we moved on from making small films to joint ventures and multiple projects simultaneously with the simple idea that if I had to look after every project creatively, then I wouldn’t be able to make so many movies. And I didn’t want to compromise on the quality of the movies that I was backing. I am collaborating with people like Dinesh Vijan, Nikhil Advani, Luv Ranjan, Atul Agnihotri and Ajay Devgn. Having a good creative team is paramount. Money is important, but as a producer, I believe that it won’t be fair to the audience if we worked with only profits in mind. Besides, I personally watch every film to see what kind of content is working with the audience.

While it’s been proven time and again that content is what drives the audience to the theatres today, most of your films are headlined by big stars. At some level, do you think that getting big names for your projects adds more weightage to your films?
Gone are the days when people would flock to theatres after big names. Fortunately, I am getting to strike a balance between the two. So, while Bharat is headlined by Salman Khan, it’s a content-driven film as well. Likewise with Tanhaji: The Unsung Warrior, which stars Ajay Devgn. Also, no project is big or small today. The idea has to be big. Stree, which was made on a small budget of around Rs 17 crore, did great business. We are ensuring that we are either making a biopic, a real-life story, or a full-on masala action movie. The films that I am making with newcomers could probably be small budgeted projects, but they are high on content with a great business potential.

You are mostly into co-producing films. How does that model work for you?
Look, that’s the best model; otherwise, it would be impossible to make so many films. The success rate is high when you have different minds working together. If I have to make films on my own, I won’t be able to make more than two a year and the film might also suffer on a creative level. Filmmaking is a totally different ball game and it can’t be compared to the creativity that’s required for music. I can make a song in five minutes along with a music director and a lyricist, but when it comes to movies, the approach is very different.

Does your acumen for music come in handy as a producer?
My father had a tremendous sense of music. Every song that he picked connected with the audience. I have inherited that ear for music from him. I bought the rights of Aankh Marey and Tere Bin Nahi Lagda Dil Mera Dholna and told the team to recreate it for Simmba, as I knew both would become a hit. Rohit (Shetty) shot the two songs beautifully and they went on to become major hits. Similarly, my father would also suggest songs for several films and I am following in his footsteps. It applies to scripts as well; I might have gone wrong many a times, but we are getting there.

Today, music is incorporated in a film in a rather organic manner. Unlike earlier, songs are now a part of the narrative. How do you view this change?
For some films, music is really important, but then I have also produced a film like Baby, which had no scope for music. I incorporate songs in a film only if they don’t disturb the story. Earlier people would tell me, ‘Tum ye film kar rahe ho, usme aise gaanon ki jagah nahi hai’. But I want them to know that I am also ready to do a film without music. Aise hi nahi ki hero yahaan se bhaaga aur gaana chaalu ho gaya, or ye hua toh seedha Switzerland pohoch gaye. If there’s a romantic song, it comes organically and is placed depending on the narrative. There aren’t any dream-sequence songs in my films.

What do you have to say about the current music scenario with rap and pop becoming a rage? Since you’re a man of melody, was it difficult to adapt to these changes?
I am very happy. People are enjoying different kinds of music, which is opening different genres for creators like us. Earlier, a romantic or a dance track was supposed to be made in a particular way. But we are happy that new genres are opening up. If you observe, every song has a great melody apart from rap. Melody honi bohot zaroori hoti hai nahi toh woh gaana work nahi karta hai. So, melody never goes out of fashion, whether it’s a dance or a romantic track. Let me tell you, there is a great demand for sad romantic tracks in India. Once Shah Rukh Khan had mentioned in an interview, ‘Mujhe Bhushan ye bolta tha ki harr gaane mein dard hona chahiye, toh maine dance track mein bhi dard daal diya’. He was referring to the song Dard-E-Disco from Om Shanti Om (laughs!).

In one of your interviews, you mentioned that your father, Gulshan Kumar, would go to parties hosted by music composers just to understand what kind of music was working. How do you keep abreast?
Yes, he would do that. Today, you have everything on your mobile phone. I access the online platforms a lot. I keep track of new independent artistes, who put up their videos. If we like the song, we call the singer and buy the rights for it. At times, we adapt it to make songs in a similar zone. Most of the times, these artistes put up these videos expecting a big label to call them, take their song for a film and picturise it on a big star. That way their voice gets famous and, in turn, they get more shows.

As somebody who’s so musically inclined, what’s your view on recreating songs? Why aren’t we creating more original songs instead?
Recreating music is a tougher job than making new songs because you have to do it correctly. If you don’t make the song better than the original one, then it will be a wasted effort. Also, we make sure that most part of the song, which has been recreated, is new; that’s something you don’t realise while listening to it. For example, in Dilbar Dilbar, barring just two lines, seven lines are new — both in terms of the lyrics and the tune. So, for almost every song that’s recreated, we just take the hook line and then create new content for 90 per cent of it, including the tune, the sound and the lyrics. It is not that we are recreating tracks, because we are not getting new songs. We are purposely making it, because this is the demand of the market. We make a mix of recreated numbers and original songs for a film. The reason why these redux versions are working today is because people want to listen to them and that’s why they get millions of views. Also, what qualifies as a remix song for the older generation, is a new track for the youth. Many people from the industry criticise it, but the audience wants to listen to it. So, what's wrong in it?

What the progress on Mogul, a biopic on your father, which is an ambitious project for you?
That’s a very emotional and touchy subject for us, which we will definitely make. The only thing I can tell you right now is that we are starting the film in 2020. Everything else is under wraps. 

Renuka Vyavahare (BOMBAY TIMES; February 14, 2019)

We have missed one of our finest actors — Irrfan — in the movies this past year. On March 16, 2018, he took to Twitter to announce that he has been diagnosed with neuroendocrine tumour, a rare form of cancer. The news was an emotional jolt to him and his fans. After undergoing treatment in London, we have now learnt that the actor is back in Mumbai.

While it was reported that Irrfan will resume shoot on February 22 for the sequel to Hindi Medium, our source close to the actor denied the news. He said, “Yes, Irrfan is back in Mumbai, but he hasn’t given any date as to when he will resume shooting. He is taking things slowly.”

Bhushan Kumar, (co-producer of Hindi Medium and its sequel with Dinesh Vijan) told BT, “Hindi Medium 2 will happen, but it will take time. It is not going on floors on February 22 as reported. The film will happen only with Irrfan. His fans and audiences need to wait a bit more. We will surely make an announcement soon.”

Our source also denied the news of Irrfan being admitted to a Mumbai hospital. He clarified, “Irrfan has been given a sanction from the London hospital to shift base to Mumbai, where he can continue with his treatment. He is here now, but he hasn’t been admitted to any suburban hospital as reported. He will consult the doctors as and when required. People should stop speculating and give him some space.” 

Lasyapriya Sundaram (BOMBAY TIMES; September 24, 2017)

BOMBAY TIMES (November 18, 2016)

Bhushan Kumar, 38 & Divya Khosla Kumar, 31

Excited about their upcoming 11th wedding anniversary, the producer-director duo talk movies, melody and the meeting of hearts
Roshmila Bhattacharya (MUMBAI MIRROR; February 7, 2016)

They met during a music session of her 2004 debut film, Ab Tumhare Hawale Watan Saathiyo. And almost immediately, Bhushan Kumar, the chairman and managing director of T-Series started plying the film's heroine, Divya Khosla, with messages. "I answered a few and then backed off. I belonged to a conservative Punjabi family and I didn't want to get too close to a rich boy who drove fast cars," reminisces Divya. The texts continued, four-five a day, and eventually, Bhushan's cousin, Ajay Kapoor, arrived in Delhi to find out why Divya wasn't replying to them. She pointed him in the direction of her parents. As soon as he left, she got another message from Bhushan, "What did she say? Did she say yes?" She figured it was for Ajay, sent to her by mistake.

The 27-year-old music magnate had just moved to Mumbai and was driving a new car every day, reportedly with a new girl by his side. Bhushan admits to his fascination with cool wheels ever since his father, the late Gulshan Kumar, had bought him a Toyota Sienna with wing doors when he was in Grade 11, followed by three Ferraris and a Lamborghini. "I was too possessive of my cars to take a girl in them. I only drove around with friends," he laughs off the rumours. But his family wanted him to settle down. Before his mother fixed a match, he sent her with a 'rishta' to the Khoslas who coaxed Divya. "Everything was on track in two months," he reminisces.

On February 13, a day after the release of Divya's second directorial, Sanam Re, the two will raise a toast to 11 years of wedded bliss. Over the years, she's accepted her workaholic husband who's on call even on holidays and who she waits till midnight to have dinner with. And he's learnt to give her the creative space she wants, supporting her through an anti-piracy film, music videos, a feature, Yaariyan, and now another. "Initially, I was nervous, worrying about the insult if the wife of a successful businessman failed. But I appreciated that like me, she didn't smoke, drink or party and was a vegetarian. She only wants to do something creative," he reasons. So when Divya approached him with two options, he greenlit Sanam Re after telling her the dialogues needed more work. On her part, she didn't burden him with her problems, even sorting out permission issues in Canada on her own. "People think it's easy with a producer husband, but I've always relied on my talent. I am a hands on director," she asserts.

At 19, after his father's death, Bhushan inherited his business empire and the ability to work hard and an ear for music. Today, his company is rumoured to be valued at Rs 500 crore, although he won't confirm. "I can't compose but I can select good music," he asserts. In 1999, two years after taking over, he released a non-film album, Deewana, a collaborative effort with composers Sajid-Wajid and lyricist Faiz Anwar. Bhushan was involved in everything, from the lyrics to the sound design.

But starting out wasn't easy. Top singers turned away, as he didn't inspire the confidence his father did, and moved to Tips, Venus and Sa Re Ga Ma. They'd pick up a Subhash Ghai or a Rakesh Roshan film and sell 10,000 cassettes on the first day itself. Even Sonu Nigam, his father's protege, had second thoughts about dubbing the songs of Deewana, only agreeing after Magnasound gave him the go ahead. Still, he refused to shoot for even one of the eight videos. "He complained that the songs were too slow and raved about the peppy tracks he'd recorded for Magnasound. Deewana is Sonu's best pop album, he still sings those songs," claims Bhushan who went on to experiment with a film, Tum Bin, Jagjit Singh ghazals and Punjabi pop, decimating the competition with a 95 per cent track record. He insists a music company can't be run by employees and that you have to be a hands-on boss with a finger on the audience's pulse.

Nothing fazes him. During the copyright controversy, when composers and singers moved away, he built up new talents like Mithoon, Amaal and Armaan Malik and Ankit Tiwari. The endeavour continues through singles which revive and recreate classics for Gen X. But aren't they also, dheere deere se, wiping out memories of Rahul Roy and Anu Aggarwal's Aashiqui and music directors like Nadeem-Shravan who once ruled on hoardings? "If it's a star like Aamir or Shah Rukh Khan, the memories will remain," Bhushan argues, informing that during Shoojit Sorcar's Madras Cafe an Ormax survey revealed that 25 per cent of the respondents didn't know who Rajiv Gandhi was. "If they don't remember a former Prime Minister how do you expect them to remember a music director after 25 years?" Touche!

Priya Gupta (BOMBAY TIMES; March 4, 2015)