Himani Shivpuri on industry’s daily wagers; wonders if distancing will bring back ‘flower kissing’ ways
Ankita Chaurasia (MUMBAI MIRROR; June 1, 2020)

When the Coronavirus lockdown started, Himani Shivpuri was grateful as it enabled her to practice yoga and brisk walking on the same day. But after two months, the veteran actress is feeling the heat and is upset by the government’s apathy towards the entertainment industry. “We are always the first to offer help in times of distress, yet Finance Minister Nirmala Sitharaman didn’t think it necessary to address our plight. I understand we’re better off than migrant labourers, in that we have homes to live in and food on the table, but we’re also daily wage workers because our homes run on salaries,” she points out.

Himani insists that TV industry’s norm of 90-day deferred payments be stopped immediately. “We’ve only been paid till last November, and that too because it was a reliable producer. Many are struggling to make ends meet,” she sighs. While producers are trying to resume shooting, promising to follow social distancing rules, the actress is not convinced. “A TV show requires a crew of 400 people and actors can’t shoot with masks. And do they plan to go back to ‘flower-kissing’ ways?” wonders Himani, who used to spend 12 hours on the sets of the TV show Happu Ki Ultan Paltan playing Katori amma. Another two hours were spent in the commute to reach Naigaon. “By the time I returned home, I even stopped my mother from watching TV. Now I’m addicted to the idiot box,” she laughs, saying she’s been binging on yesteryear hits which brought back fond memories of Salman Khan and Hum Aapke Hain Koun..! “Our first shot was a regular scene. Suddenly, he picked me up and whirled me around. My surprise was for real. The next time I was prepared and playfully slapped him in response,” she chortles.

When they were in Mauritius for Biwi No 1, he didn’t turn up for a morning shoot and Himani, who had gone shopping because her call time was in the afternoon, was dragged back from the mall. “When Salman learnt what had happened, he apologised,” she recalls.

She remembers another Khan, Shah Rukh, who walked up to her on the sets of Anjaam and reminded her that he’d been a part of the crowd in a National Award-winning film, In Which Annie Gives It Those Ones, in which she had played the female protagonist.

Neha Maheshwri (BOMBAY TIMES; February 6, 2020)

Anil Kapoor will be seen as a police officer with grey shades in Mohit Suri’s Malang, which also features Disha Patani, Aditya Roy Kapur and Kunal Kemmu. The ‘evergreen’ actor says that he has a surprise or two for the audience up his khaki sleeves. While he doesn’t reveal what they are, in a chat with BT, he gets candid about his unfading popularity with the audience as well as filmmakers, and how he never aspires for any tag. Excerpts...

Many actors have said that they draw upon their inner emotions while portraying characters on screen. As an actor, who has been a part of the industry for over four decades, have you ever felt emotionally sapped while doing such a variety of roles, or the need to take a break?
Of course, I do feel the need sometimes. During the first decade of my career, there were so many factors driving me. I wanted to work as much as I could. The second decade was all about trying to maintain what I had by working in the best of films. There were financial obligations and setbacks, too, like Roop Ki Rani Choron Ka Raja (1993, home production). The third decade was all about maintaining longevity. I was focusing on adapting myself to the need of the hour and trying to make younger filmmakers notice my versatility.

During the fourth decade, I went into a transition mode. Also, God has been kind, as opportunities keep presenting themselves. How can I say no to them? It was almost after completing 35 years in the industry that Dil Dhadakne Do (2015) happened, which opened more doors. Then Ek Ladki Ko Dekha Toh Aisa Laga (2019) happened. It's not that the thought of taking a break hasn’t crossed my mind, but exciting offers keep coming my way.

Talking about Ek Ladki Ko Dekha Toh Aisa Laga, Sonam has been brave with her choices in films. Do you think you are as brave as your daughter?
I am glad that Sonam, Rhea and Harsh (Harsh Varrdhan Kapoor) are making brave choices and sticking to them. They have chosen difficult paths. I was quite brave too, but not as brave as them. That’s probably because I had a lot of financial responsibilities. My kids don’t need to think about money when making their choices. They aren’t crazy about money. They are ambitious, but to do things they believe in. In my case, I had to keep doing safe films, to get a chance to try on brave projects. It was important for my films to do great business, so that I could take a chance with films like Lamhe (1991), 1942 A Love Story (1994), Eeshwar (1989), My Wife's Murder (2005) or Nayak (2001). There was a time jab log bolte the ki yeh bada apne aap ko English actor samajhta hai, itna ‘real’ acting karta hai. And then suddenly, one day, I became a commercial actor for them. Jhakaas ho gaya! Finally, it’s all about perception.

Today, we keep talking about content-driven cinema, but you have associated yourself with such films and unconventional subjects several times in your career...
Hamesha aisa hi tha. Beta (1992), Judaai (1997), Virasat (1997), Chameli Ki Shaadi (1986), Eeshwar… they are all content-driven films, which is why they have stood the test of time. People around me would call me a big star, but I have always banked on content, not on my stardom alone. I believe that’s the reason for my longevity. For me, it’s not always necessary for a film to be a hit at the box office, but it should withstand the test of time.

It’s not easy to keep yourself relevant and going strong in this industry, which is known to be fickle. Many of your contemporaries have retired, while others are settling for smaller parts or even try to revive their careers, though not so successfully. But even after 41 years, you are still going strong...
I am just following my instinct and going with the flow. I have been fortunate that young filmmakers want to work with me. I took risks in the early stage of my career. So, they know that they can approach me with their crazy ideas. I have done films in which the heroine had a better character graph than me. Had I been slightly rigid, I would have missed out on them. There were times when I did films in which I didn’t play the lead role, like Taal (1999), Biwi No 1 (1999) and Slumdog Millionaire (2009). I did them because, as they say, ‘there are no small parts, there are only small actors’. I never cared about the length of my roles. I tell filmmakers, ‘You give me two good scenes and I will do it, but don’t use my presence just because I am Anil Kapoor’. I remember when Farhan Akhtar had approached me for Don (2006), I told him that I don’t mind playing a don in a film which features Shah Rukh Khan in the lead. There were times when I did films for friendship as well. They have told me, ‘Main yeh film bana raha hoon, main takleef mein hoon’. I had an inkling that the film won't do well and even told them ki yeh picture nahi chalegi. They turned around and said, ‘Aapko kya farak padta hai sir. Kar lo aap’. Maine kee hain woh pictures. I am not a ruthlessly self-centred person.

There was a time when you were hailed as a superstar, and now, you are called ‘evergreen’. Today, when we talk about superstars in Bollywood, only very few names feature on that list. How seriously do you take these tags?
My tags change every decade. At first, it was ‘Yeh actor hai, star nahi hai’, which changed to ‘He is not just a star, but a superstar’. Then people said that he tried to replace Bachchan, but he couldn’t. Now, the tag is around my fitness and good health. I never aspire for a tag and don’t work towards earning one. They keep on changing from ‘Forever Young’, ‘Star’, ‘Superstar’, ‘Evergreen’, ‘The next Amitabh Bachchan’, ‘The next Sanjeev Kumar’ and ‘Jhakaas’. However, the one tag that remains to be my favourite and has been bestowed upon me by respected directors, is that of a ‘Chameleon’. I would strive for it to remain with me.

You will be seen with your son Harsh in the Abhinav Bindra biopic. There were rumours that you were initially hesitant to share screen space with him as you did not want any unfair comparisons...
These are all rumours. I can play anybody’s father, grandfather or even great grandfather. That has never been an issue. I had, in fact, almost played Sridevi’s father in Lamhe. I have played father to many actors, so why would I have a problem playing Sonam and Harsh’s father? My children are more worried about me than I am for them, because they are very sure of their work. Fortunately, like me, both Sonam and Harsh don’t worry about the length of the character. I have also done cameos. Similarly, Harsh is doing a cameo in AK Vs AK. It’s not ‘I, Me, Myself’ for any of us. Nobody is anybody’s fan or harbours superiority or inferiority complex. That’s the atmosphere in the house.

When Harsh’s first two films didn’t work, did he come up to you for advice? For any actor, box-office failure can be quite upsetting...
In fact, he advises me on every film, including Malang. He suggested that I watch Harvey Keitel’s character in Bad Lieutenant (1992). We (Sonam, Harsh and I) don’t advise each other, but throw ideas. Of course, box-office success is very important and it does affect you, but you have to move on. Harsh was upset, too, when his films didn’t do well. He is a normal human being. Success and failure are a part of life and our profession.

Lastly, is there anything that makes the ‘evergreen’ Anil Kapoor insecure? Does the thought of ageing play on your mind, at least at times?
What do you think? Everybody has to age and that, too, gracefully, die. There is no sequel to youth, old age and death. You experience it only once.

Juhi Chakraborty (HINDUSTAN TIMES; November 21, 2019)

She is the poster girl of heartland cinema, and after four years and six films in Bollywood, actor Bhumi Pednekar is ready with her ‘most commercial film’ — Pati Patni Aur Woh. And, to hit the bullseye of popular cinema, the actor has taken inspiration from Karisma Kapoor — the leading lady of ’90s commercial Hindi films. Karisma’s 1991 family comedy drama, Biwi No 1, acted as a reference point for Bhumi.

Incidentally, Bhumi is a die-hard admirer of Karisma. “I’ve been a huge fan of her since I was a child. I even bought a dress that was similar to her attire in Raja Hindustani (1996). She’s the epitome of a commercial film heroine, and I loved her films,” says Bhumi.

Gushing about Karisma, the 30-year-old says, “She was outstanding in all comedies and Biwi No. 1 was a huge inspiration to me while I was preparing for Pati, Patni Aur Woh. Her transformation from a simple bahu to a firecracker in the film had bowled me over. She was my reference point to nail my role.”

Bhumi, who is thrilled to play a character similar to Karisma’s role in Biwi No. 1, adds, “It’s a dream come true for me to play a role so similar to hers. I thoroughly enjoyed playing the commercial film heroine for the first time in my career.”

Tabu is glad that female actors are getting the fee they demand nowadays, but believes there is scope for improvement
Pooja Sharma (HINDUSTAN TIMES; November 8, 2019)

After three back-to-back hits, Tabu feels she is in the most gratifying phase of her career. The actor, who has delivered hits such as Andhadhun (2018) and De De Pyaar De, in the recent past, says, “I am happy about the growth that I have seen in movies, and myself. To get the opportunities, to grow with your work, and have your growth reflect in your work is an amazing thing.” Being in a fulfilling stage in her career, she is more open to push the creative envelope even further. Excerpts from an interview:

After playing intense roles in the past few years, were comedies such as Golmaal Again (2017) and De De Pyaar De a breather?
I did what was required of me as an actor. Having said that, aisi type ki filmein beech mein nahi ban rahi thi. My presence in the serious films worked well. But people have not forgotten my roles in Chachi 420 (1997), Biwi No 1 (1999), or Hera Pheri (2000). When people cast you, they want to give you roles which you are good at. But at that time, these films were being made and so everything worked out in tandem. But my approach for every film has been the same. Every project has a different requirement of course. So, you try to fit into that and do justice to what is required of you.

Now, do you want to charge double after the success of your last few films?
(Laughs) I really should charge double! I am sure the makers who come to me will have that respect for what I deserve and will give me my due.

Are female actors now getting the fee that they demand?
I think so. A lot of demands are being met. I am sure the makers are smart enough to understand that if an actress is bringing them that kind of revenue and is pulling the crowd, they will give her the due. Actors are also intelligent; they know their position and demand accordingly. Of course, it’s a business so everyone will try to get the best deal. But, it is better now.

Are you ever unnerved on the first day of any shoot?
There’s a lot of excitement but no apprehension. Since you have done it for long, so you know the pattern. But, when you go on sets, it takes a day or two to settle, unless you know the people or have worked with them earlier.

How important is it for you to take breaks between movies?
Long enough breaks toh nahi, thoda sa just to regroup, because the process of making a film tires you. I like to take some time off because I like to prep for the film. By prep I mean like costumes etc. I don’t like last minute things such as fittings theek nahi hai, etc., because it distracts you from the shooting process. There are last minute changes, but if we can keep things in order, it saves time.

After sharing the screen with him in Sooraj Barjatya’s family drama, actress wraps up a special turn in his home production
Himesh Mankad (MUMBAI MIRROR; July 31, 2019)

Tabu has just returned from London where she shot a cameo for Saif Ali Khan’s home production Jawaani Jaaneman. The coming-of-age film features the actor in the lead and introduces Pooja Bedi’s daughter Alaia F as his daughter. Visibly in a happy space, the actress quips when asked about the experience, “How was it working with them or how was London?”

She goes on to inform that she has a special connect with the Queen’s City as it holds memories of two other films, R Balki’s off-beat love story Cheeni Kum with Amitabh Bachchan, and Luv Ranjan’s more recent De De Pyaar De with Ajay Devgn. “This is an altogether different film, and it’s amazing to work with Saif after so many years.” Their last collaboration, Hum Saath Saath Hain, released in 1999. “We did Biwi No 1 after that but didn’t have any scenes together. Saif has a great sense of humour and I was looking forward to doing this kind of a film with him,” she adds.

Prod her on the role and she says, “It’s a nice and open spirited space for me. Golmaal Again, De De Pyaar De and now Jawaani Jaaneman are all energetic characters, and in this space, you get to do something fun with the clothes and create a look. It’s different from the serious dramas that I had been doing.”

She recounts that Jay Shewakramani who is producing the film with Saif and Jackky Bhagnani, called her one day with this special appearance. “Since he is an old friend, working with him was sentimental and when I heard the story, I discovered that it is a fun space and was instantly game,” she reasons.

Buzz is, she plays Alaia’s mother. “More than being anybody’s mother or sister, it is a character. I like the way my track has been conceptualised, there’s a correct balance of humour but I don’t want to say more. We want it to come as a surprise,” Tabu keeps it short.

Incidentally, another one of her ’90s films, Vijaypath (right), completes 25 years next week and holds a special place for Tabu as it was her first hit. “It’s a coincidence that Ajay and I did a film in the year our first film together completes 25 years, it speaks a lot about our friendship and the work we have done. Twenty five looks like a big number when you write it, but it doesn’t feel so long when it’s Ajay,” she concludes with another laugh.

Post the success of AndhaDhun, Tabu explains why she could never be stereotyped and how she credits her film choices to her instinct
Sonil Dedhia (MID-DAY; November 25, 2018)

Are you surprised by the success of AndhaDhun?
It is an amazing thing to happen to any piece of art. These days, people tend to move on from a film in a week of its release, but with AndhaDhun, I am still getting calls and messages. A lot of credit goes to Sriram Raghvan and cinematographer K U Mohanan with the way he shot the film and the entire cast. The beauty of the film is its ending, and the options and possibilities are taking a life of its own. As an actor, it is enriching that the discussion is beyond box-office numbers. This is completely a new phenomenon for me. The film was made on a humble budget and the collections have been excellent, but what is important is that it has been unanimously loved and I haven't seen this happen with many films and that is what we are celebrating.

From Maqbool to Drishyam, most of the films you have been a part of are still being discussed. Do you feel invincible?
No, that would be a very strong and dangerous feeling to settle in. I feel gratified and a sense of pride in the choices I have made. The fact is that I was completely immersed in the process for every film. I just wanted to be the best at whatever I did. I never thought about the results. Having said that I didn't want to play just another heroine, neither did I aspire to play the good girl who is shy and smiles all the time. There are many layers in a woman and I want to explore all of them. So, my approach has always been different. That is why I think people could not understand me or bracket me as an actor. I would often hear people saying, 'Yeh Tabu hai kya, isko chahiye kya?' (laughs). I have always gone with the flow and followed my instincts.

Did you ever worry that the choices you made might not work?
I had no intention of becoming an actor. Everything in my life has happened by chance. I don't assess my work so much. It may seem that I have intellectualised the process because of the films I have chosen, but that's not the case. When I started out, I was doing several films at the same time and the roles were as different as chalk and cheese. In one film, I was playing a suicide bomber [Hu Tu Tu] and in another, I was a demure daughter-in-law [Hum Saath Saath Hain]. The sheer fact that I would get to portray various emotions was thrilling, which also helped showcase my talent. I had conviction in my choices as I knew they would work for me.

People start expecting more from actors like you even if it's a masala film. Does that put unwarranted pressure on you?
It makes me vigilant because at the end of the day we are working in an industry of perception. It can also become a problem if I get acknowledged only in content-driven films and not the masala projects. I don't do quality work because it is a perception.

You don't seem to be bothered about perception or image...
I guess that is because of my temperament. I never believed in rules and regulations. I never thought ki heroines aise expressions de rahi hai toh mujhe bhi waise hi karna chahiye. I always wanted to express myself as an actor and never thought of consciously breaking the mould. So when I wanted to do loud and hilarious roles like I did in Biwi No 1 (1999), I didn't think twice. And I had fun doing that film. In the same year, I did five other films and all the characters were different. But it never stemmed from the thought of challenging the norms or showing people ki main kuch alag kar sakti hoon.

You are collaborating with your longtime friend Ajay Devgn in De De Pyaar De...
It is a different experience with Ajay as this is a mature love story which we haven't attempted before. The film explores real relationships in a light-hearted manner. We have known each other for over two decades, so, it's been a great working relationship. On sets, it has never been a formal relationship and it never feels like we are working which is a good thing.

Tabu's next with Salman Khan
Despite featuring in several films with Salman Khan, Tabu has never starred opposite him. The trend continues as she does a cameo in Khan's next film, Bharat. "It's one of the most important scenes. If I had to do something in a film like Bharat, this would be it. I am happy to be a part of just one scene," she says and adds, "We have known each other even before he made his debut, so, I wouldn't say no to him. I also know that he and Ali Abbas Zafar would not approach me to do something inconsequential.

Anil Kapoor on perceptions, planning career extensions, coming of age (gracefully, at that), maintaining artistic balance and more...
Sarita A Tanwar (DNA; June 16, 2015)


Playing dad in DDD was sort of a first, right?
No, I have done it many times. I have done Bulandi and Eshwar in which I played a grandfather. The only difference is that I also played a younger part in the same film. Even in a film like Lamhe, where I played a character as old as Sridevi’s father and I romanced her as well. In DDD, I am playing a character that doesn’t age from youth. Amitji (Bachchan) has started this trend from films like Khuda Gawah. He did those kinds of senior roles. In a way, it is also like what Dilip Kumar did in Shakti.

You had no reservations about playing a father to youngsters in their mid-20s?
In my head, Ranveer (Singh) is playing my son; I am not playing his father. So you have to see it this way: I am playing a patriarch. You need conviction to play such a character, like all the roles that Daniel Day Lewis has done or what Marlon Brando did in Godfather. My only fear was: how do I tackle the media because no matter how intelligent or sensible the editor or the journalist is, the question will be this.

Ouch. But it is valid because while your contemporaries had switched to doing character roles, you were still doing lead roles.
But this is a lead role. When Zoya came to me, she said ‘Anil, I am coming to you as a lead’. I am the lead in DDD. If I do a Race also or if I do Welcome or No Entry, I am playing the lead. I am packaging it and making it an ensemble because I am not a solo hero. See, it’s a very strategic plan I am following so that I can extend my journey as an actor. Every actor has to plan this to extend his career.

So playing an older character was always part of a plan?
Yes, I was just waiting for the right film. Actually, one of the reasons I agreed to play a father in DDD is to stop that perception of me that I have of being eternally young. People talk about a fountain of youth that I have discovered. I didn’t want to live with this image. It’s a trap. I just want to get out of it because it’s a very tiring trap. And I should not be delusional, like actors become. Obviously, I am going to look after myself but I know that as an actor, it is time to make some changes in the kind of roles I accept. Now I am in my 50s, I have grown children and my son is about to make his debut in films… I decided to get out of this trap. 22 years back, when Parampara was made, Yashji (Chopra) had asked me to play Aamir and Saif’s father. Feroz Khan wanted to make Godfather with me. He wanted to take Akshay Kumar and Suniel Shetty as my sons. I said no. I said you have to have that kind of integrity as Francis Ford Coppola had. He didn’t take stars to play the sons. He took Al Pacino who was nobody then. In DDD also, it was the casting that worked. Zoya was not trying to make a proposal. Also, I feel family is the best genre to play the patriarch in, rather than playing a boring Bombay elderly mafia don just because it sounds good.

I’ve heard that before you go for a shot, you look into the mirror and tell yourself: Kya dikhta hai! You are too good. Is that correct?
Everybody has some quirks; a little bit of madness and things you do to charge yourself. In my time, my contemporaries were much better looking and had better personas and got better breaks. I had to do something to make me feel that I was on that level as well, so I became my own cheerleader. If someone would ask me, ‘How are you?’ I would say: I am handsome. So yes, when nobody praises me, I look into the mirror and praise myself. You have to understand actors those days… There was Bachchan who had this larger-than-life persona. There was Dharmendra – the most good looking man in the world. Then there were Jackie Shroff, Sanjay Dut and Sunny Deol with their muscles. And then there was me — I was skinny, I had small eyes, my dance was not special and my looks were ordinary. I had to completely psyche myself and work. People used to say earlier that he is not good looking, and now people are talking about my looks. How did that change? From which angle do I look good?

At what point did you decide it was time to switch to playing characters?
I decided that before people tell me ‘You shouldn’t do these (young) roles,’ they should ask, ‘Why did you do this (older) role’ and ‘How did you have the guts to do this at a time when you look so f**king good?’ I have always done interesting characters, like in Taal or in Biwi No. 1. I remember at the time, Arunaji (Irani) wanted to make a film with me as a leading man, and she was very upset when she saw me in Biwi No. 1. She said, “Aapne kyon kiya? Main toh aapko lead bana rahi thi, aapne jaake second lead kyon kar liya?” I had to explain to her that I have a longer vision. For me, it’s a marathon and not a 100 meters run. That’s why I did it. Even with DDD, kaafi logon ne bola mat karo. Everybody was subtly saying that it’s a wrong decision.

Did you discuss it with anybody?
No. Except Aamir. He already knew. He said I must do this film. Also, Ranbir (Kapoor), Adi (Chopra), Rhea and I don’t know if I should add the name of my son my son Harsh here, who was also a deciding factor. Uska dimaag nahi kharab hona chahiye. He also got the credit for me accepting Slumdog Millionaire (laughs), but he pushed me to do this role. They all said I have to do this film.

Why Ranbir?
Ranbir, at that time, was doing the film and even after he opted out, he said, ‘Sir, you please do it. Nobody else can do it.’ It was like one gang working. Zoya ne shaayad paise khilaaye sabko. And my entire team, including my PR, said don’t do it. Even Sonam, Sunita and Boney told me not to do it.

And what does Sunita think now?
She is thrilled but she knows me very well. She used to always tell me, “Anil you are just latkaoing them and I know you will not do this film.” In my family they all believe that I just pretend to be very mainstream but heart of heart, I am arty. They have the heartiest laughs at my expense. They feel I am more artistically inclined and they feel I have to be pushed to do a little mainstream; otherwise I would go totally deep in serious cinema. I feel I have maintained a correct balance, which is a much more painful journey. Doing only one thing is far easier than trying to balance and becoming a star and an actor.

So you’re more open to play dad now?
It’s not the question of playing dad. I feel somewhere it will open gates for all actors. Aamir is doing it in Dangal, Akshay Kumar in Brothers, Ajay (Devgn) in Drishyam. So it’s great for us. I think salt and pepper is the new sexy.

You were very secretive about your look in the film. You didn’t want it to be revealed.
I didn’t want people to speculate and write things ke baal color kar raha hai, yeh kar raha hai, woh kar raha hai. Why should I take that f**king stress? Once they saw my work and when the theatrical trailer came out, people would anyway know. So I put my foot down and it was a part of my contract that I won’t promote the film and I won’t be in any teaser or poster.

But you were on the film’s poster.
Yes, that was decided later. Ritesh and Farhan came to me and said it’s a patriarch’s film. It’s from his point of view – actually it is from Pluto’s POV — the patriarch Kamal Mehra is the main part. It’s a family film about these four people. Without the main member of the family, it might come across as a romantic film and send out the wrong message. Then I did one poster and the theatrical trailer after a lot of bargaining. They told me you are the first actor we have met who is saying he doesn’t want any publicity. Yaar, kitni baar publicity mili hai, I am not a bloody bhookha for publicity. I guarded my look so much. Not a single picture came out during shooting. Given that on the ship there were 2700 people, someone or the other could have taken a photograph. Even all my co-actors were taking selfies.

How did you manage that?
I protected myself. I bought lot of camouflage stuff from LA. I had a full production team and security around me to ensure no one took a picture. I used to constantly be wearing hats and caps. Once, from Mehboob Studios only one top shot was taken. Someone had fixed a camera and taken a top shot. But the first time people actually saw me was when we gave the first look in one of the newspapers and then the theatrical trailer.

You did South films at the beginning of your career. Why not later?
I was going there because beggars can’t be choosers. At that time, I was not getting any work here. To work in South films is a tough journey. You want to be with your family, you want to stay where your roots are. I only went there as I was not getting any work here and there I was getting roles as a leading man. Here everybody wanted to give me bit roles only. There came a stage where they wanted me only for one scene. That was very humiliating. I wanted to rise. I got out of here because mentally I decided, “I am no longer going to do that.”

Singer Anmol Malik, who's on a high after Old School Girl from Tanu Weds Manu Returns, talks about jazz music and starting young
Lakshmi V (BOMBAY TIMES; June 5, 2015)