Bosco Martis has again called for long-overdue recognition of choreographers in the Indian film industry. He was recently in the news when he expressed his disappointment at not being credited for his work on the hit Chuttamalle (Devara: Part 1), starring Jr. NTR and Janhvi Kapoor. “I wish Janhvi would have spoken about it in her promotions,” he’d remarked.

Speaking to Bombay Times about this, Bosco highlighted how choreographers are often sidelined during film promotions, despite playing a pivotal role in the visual and emotional impact of a song.

“We choreographers deserve recognition. A song is a story, a world that the choreographer helps create, from steps to set design, costume inputs to colour palettes. Today, a choreographer is no less than a song director.”

Without singling out any actor for deliberate oversight, Bosco stressed the importance of crediting behind-the-scenes creatives. “I know nobody avoids naming choreographers on purpose, it’s like forgetting a friend’s birthday. Jahnvi didn’t do it on purpose, but when actors acknowledge the technicians who make them shine, it’s a deeply fulfilling moment for us.”

Bosco cited the example of radio platforms that now mandatorily mention singers, lyricists, and music composers, and advocated for a similar norm for choreographers, especially for dance-centric tracks. “For years, I’ve been saying this: mention the choreographer’s name. On iconic songs like Ek Do Teen, Tauba Tauba or Dola Re Dola, the choreographer’s identity is vital to the song’s legacy. It's high time this became an industry norm,” says Bosco, the creative force behind dance hits like Jhoome Jo Pathaan and Kala Chashma.

Despite the lack of consistent credit, he did acknowledge that several actors have celebrated choreographers publicly over the years. “Katrina Kaif, Vicky Kaushal, Shah Rukh Khan and even Janhvi Kapoor have praised us on various occasions. When that happens, suddenly everyone knows your name. That’s when you feel seen.”

Talking about Chuttamalle, the choreographer shared behind-the-scenes insights on the track’s filming. “It was a challenging three to four-day shoot. The water was icy cold. Janhvi danced and emoted through it all without complaining. NTR, of course, is a dream, he barely rehearses and still executes every step with grace.”

Bosco credited the song’s success to a collaborative effort and support from the director and producers. “The song wasn’t rushed. We had the freedom to craft something beautiful. And it paid off, the audience has showered it with love.”

What other than a dancing number featuring him could be a better calling card for a Shahid Kapoor-starrer? Well aware that the actor’s suave moves are enough to lure viewers to cinema halls, the team of Kapoor’s upcoming actioner Deva has been playing to his strengths. Released last week, the first track, titled Bhasad Macha, showed a spirited Kapoor grooving to Bosco Martis’s choreography that aimed to present a character who was “erratic and dominating.” Martis says it was Kapoor who encouraged him to design a sequence that put his character to the forefront.

“There was a defined body language that he had manicured, and that’s what we dwelled upon. We created dance moves that could suit his character. The free-spirited sequence allowed him to be this person with free-flowing energy,” says Martis, who has previously choreographed Kapoor’s dance sequences in films like Jab We Met (2007), R... Rajkumar (2013), Phata Poster Nikhla Hero (2013), and Udta Punjab (2016).

Owing to their multiple collaborations, the actor-choreographer duo has a fine understanding of one another’s working methods. Martis credits Kapoor for putting his trust in him, a move that, he says, has contributed to the success of their past works. Since Kapoor is a trained dancer, his technical skills are sound. So, Martis has—when the song demands—encouraged him to not rehearse too much before shooting the number, lest his act look inauthentic.

“During the shoot of Agal Bagal [Phata Poster Nikhla Hero], I told him not to keep rehearsing the steps. The beauty [of the song] was that the choreography looked natural. I was confident that Shahid would execute it,” he says of the song that was celebrated as much for its music as it was for its dance sequence.

Kapoor stands tall among the best dancing stars in the Hindi film industry, including, but not restricted to, Hrithik Roshan, Ranbir Kapoor, and Vicky Kaushal. Ask Martis what makes him unique, and he points to his evolution as a dancer. 

He is technically sound. He has always pulled off choreography with all his energy but has now begun controlling it as well. That’s beautiful. Earlier, he would dance to [showcase his] energy, but now he has got his bearings right. Now, he dances like a superstar. When you see him dancing, you celebrate with him.”

Vicky Kaushal’s slick dance moves in Tauba Tauba from Bad Newz have taken the internet by storm. However, not everyone is feeling too groovy.

The song’s choreographer, Bosco Martis, in a recent interview with India Today, said, “Throughout the internet, most of the attention is diverted towards Vicky... His dancing is possible because of a man who made it happen. Don’t get any wrong ideas here. I am happy about the song’s success, but I shamelessly want to make sure that choreographers, not just me, need to be celebrated, because they bring in that vibe.”

On speaking to the dance fraternity, most of them are inclined to agree. Here’s what they said:

I agree with Bosco; everyone needs to get their due. When these songs are played at events, you start doing the film’s step; that’s the recall value of the song. An actor is as important as the director and the crew. While the actor is celebrated, everyone else needs to be recognized, too.

As a child, I idolized choreographers and looked for their name [in the film’s credit]. Today, in most cases, the choreographer isn’t even tagged on a song’s Insta posts. People don’t know ki yeh gaana kisne kiya hai.

I don’t agree or disagree with Bosco’s statement. It’s about how you feel about the role you played [in making a film]. Art is subjective to an artist and it is all about their perspective.

If there is no hook step in a song, would anyone like it? Not only the song’s steps, a choreographer looks into camera movement, light, direction and everything in between. We plan one song for days. It’s our baby and we raise it.

At a time when tentpole movies are ruling the box office, director Ali Abbas Zafar is readying his action extravaganza Bade Miyan Chote Miyan with arguably the best people for the job, Akshay Kumar and Tiger Shroff. With the film almost wrapped up, the cast and crew recently headed to Jordan to focus on the songs. The actors, along with leading ladies Manushi Chhillar and Alaya F, shot four numbers over 12 days across different locations of the country.

We hear the unit’s first stop was in Jerash, where they kicked off the shoot on January 22, followed by the filming of a party track along the Dead Sea beach.

A source reveals, “A top Bollywood leading lady features as a surprise element in the pool party number. It sees the four lead actors in swimwear, shaking a leg to the catchy beats. Wallah Habibi, a romantic track, was the last to be filmed in the deserts of Wadi Rum and sees the cast and over 100 background dancers in Arabic costumes and accessories.”

Producer Jackky Bhagnani, who recently returned from the extensive schedule, indicates that it all worked out smoothly because the Royal Film Commission of Jordan provided support to the production team and facilitated the necessary permits. With the songs currently at the edit table, he is happy with the way they are looking.

“The Bade Miyan Chote Miyan title track was filmed in Jerash, an ancient city with a beautifully preserved Roman theatre. One romantic song was shot in the modern city of Amman. We also set a [party] song at a stunning man-made white sand beach,” he says.

Bhagnani knew that prep would be crucial to filming these tracks at a brisk pace. That’s why choreographer Bosco Martis conducted extensive rehearsals with the cast in Mumbai before they flew out. The producer adds, “All aspects, from costumes to fittings to props, were organized in advance, within a span of 15 to 20 days. To ensure precision, Bosco even conducted a reference shoot in a Mumbai studio, to make sure he knew exactly what he wanted for the final product.”

Why would the makers of a big-budget tentpole movie, starring Akshay Kumar and Tiger Shroff, decide to shoot it in the middle of nowhere? That was our first thought when we landed on the set of Bade Miyan Chote Miyan near Wadi Rum in Jordan, on the last day of the shoot. The term ‘in the middle of nowhere’ is not being used lightly here—wish we could show you images from the shoot; unfortunately, they are under embargo. But picture this: dramatic clouds against the blue sky, unending desert and rugged mountain ranges as far as the eye can see.

From Mumbai, it took us two flights and a four-hour drive from Amman to reach Wadi Rum. From there, Mohammed, also known as Michael Schumacher, drove us down to the location for another 30 minutes as we battled gusts of cold wind and three degree temperature. Then, there was a trek to the spot where the unit was shooting. Enough to make a fellow scribe joke, “Only Akshay and Tiger are cut out to do this every day.” He was right.

Soon, there was respite as we heard some Hindi in the air. Sure enough, we had reached the set —a 250-people unit shooting a song with Kumar, Shroff and leading ladies Manushi Chhillar and Alaya F. On this day, choreographer Bosco Martis was running the set, discussing steps with director Ali Abbas Zafar for the final okay.

While we shivered underneath our two jackets, Shroff was practicing his steps shirtless. “I’m loving the warmth of the sun,” he told us enthusiastically. This is perhaps the passion that goes behind making an action extravaganza —actors, director and the crew going to any lengths to give you the big-scale feel. The big-screen magic comes at a price.

Though in Jordan, the price is significantly less. In the past few years, the country has been the site of some major productions, including Dennis Villeneuve’s Dune (2021) and John Wick: Chapter 4 (2023). 

Producer Jackky Bhagnani explains that the local crew is trained, cheap and easily available. It’s inexpensive to shoot here with the rebates the government offers, even allowing 10 months of shoot without any additional taxes. What lures Zafar though is the stunning visual palette, from the sea to the mountains, from the rustic to the grand.

After an eight-hour shoot, we all headed to the film’s wrap-up party, where we watched the action thriller’s making. If the teaser was action-packed, the film promises much more—tanks, a helicopter, some cars being blown up, all of which Jordan has in surplus supplies. The country’s military has helped the Royal Film Commission of Jordan maintain replicas and real weaponry from as far as World War I. For the Indian audience, Zafar and Bhagnani have found untapped locations. What helps is the seamless functioning since the locals have an undying love for Hindi movies. 

We experienced it first-hand as we headed to Aqaba, Jordan’s coastal city, on our last day of the visit. Aqaba is marked by a strange confluence; to its south is Saudi Arabia, to its west Egypt and not too far away is Israel. As we had coffee at a waterfront, the owners played the song, Bole Chudiyaan, for us.

Evading talk of how the region has been a hotbed of activity in recent times, they discussed how they can’t get enough of Bollywood. A shopkeeper at Petra, which is barely a two-hour ride from Aqaba, even offered us a few freebies since we come from the land of Kareena Kapoor Khan, making us realize that Bollywood is bigger than we think. 

Bade Miyan Chote Miyan (BMCM) will get an exotic touch as the entire team, including actors Akshay Kumar and Tiger Shroff, head to Jordan to shoot for three songs, which will happen between January 19 to February 2.

Akshay says, “I’m excited to shoot in Jordan. I’ve never been there, but I’ve heard it’s a beautiful country. BMCM has superb action and requires a certain terrain. Vashu ji (producer Vashu Bhagnani) and director Ali (Ali Abbas Zafar) have chosen Jordan with a lot of thought.” They’ve also shot in Mumbai, London, Scotland and Abu Dhabi.

The songs will be choreographed by Bosco Martis, shares a source, adding, “The makers are going all out to make the songs a visual spectacle for the audience. They are taking a crew of 400-500 people, including 200 dancers.”

Going to Jordan is a bold move by the makers as it’s in the centre of three conflict zones. Sharing the reason behind their choice, producer Jackky Bhagnani says, “Jordan is amazing in terms of landscape as it has desert, mountains and good structures.” The film will release on Eid this year and also stars Prithviraj Sukumaran, Sonakshi Sinha, Manushi Chhillar and Alaya F.

BMCM will see Akshay and Tiger unite, which has led to high anticipation among fans. Ali says, “It’s a big-ticket film coming on a big day. The action in the film has been executed by Akshay and Tiger without the use of too much VFX and body double.”

Renowned choreographer Bosco Martis’s recent post on Instagram demanding due credit for choreographers on promotional platforms, especially on posters, radio, and YouTube, has garnered support. Calling it a fight of 22 years, he wrote, “When the music director, lyricist, singer or the writer is celebrated, then why not the choreographer who makes the actors and the nation dance. It’s heartbreaking.”

Talking about the need to recognize the hard work put in by choreographers, Bosco says, “The entire nation celebrates our hook steps and dance moves, but we rarely get credit. Even on YouTube, choreographers are seldom mentioned. Every time I choreograph a song, I have to insist on having our names on the poster. Unfortunately, our names don’t find a place even in teasers and trailers. Why should we beg for credit? It should be respectfully given to deserving people.”

He adds, “‘Naatu Naatu’ from ‘RRR’ reached the Oscars, but it was disheartening to see that the choreographer’s (Prem Rakshith) name was not acknowledged. I believe it was the choreography that contributed immensely to the song’s success.”

Bosco hopes to get more support from the industry on this. “A film’s director, actor, and producer should be the first to acknowledge our work. This is just the beginning. Established choreographers need to unite and fight for this cause. It’s not about one choreographer’s credit, it’s a fight demanding a fair deal for everyone,” he says.

Meanwhile, the latest development is that Hrithik Roshan has initiated a dialogue with the makers of his upcoming film Fighter to include Bosco’s name in the latest track.

Choreographer Mudassar Khan says, “Bosco’s post has struck a chord with every choreographer in the country — dil ki baat kar di. It’s strange to watch a song without knowing who put together those steps and movements. In Bollywood, a song gains popularity primarily after its visual presentation. What if a filmmaker likes the choreography, but how will they approach us if our names are not mentioned? Unfortunately, the industry always puts the lyricist, singer, and music director above a choreographer. Logon ko lagta hai naachna asaan hai, which is a misconception. Only 10 per cent of makers take the initiative to credit us in songs on TV and other platforms.”

Karishma Chavan, who has been part of the industry for 20 years and has choreographed for several films, including ‘Veere Di Wedding’, shares, “In the past, choreographers got their due, but dance in the industry has now lost its position as an art form. There is a lack of credit and monetary compensation for our experience, let alone respect. Bosco is justified in taking a stand and addressing the growing disrespect. The only way forward is for technicians to stand united on this.”

Vijay Ganguly, who became an independent choreographer in 2013, says, “I was surprised when Bosco sir posted about this issue, as I would think it happened to those relatively new in the industry. Often our songs are released on platforms like YouTube, and credits are given to everyone but choreographers. It’s a constant fight to ensure our names are mentioned. For films like Sam Bahadur and Pippa, I requested the makers to mention the dancers in the end credit because they put in significant time and effort. I am glad they complied. Seeing our names on the big screen makes a significant difference to us.”

Jyothi D Tommaar, who choreographed the National Award-winning song Ghoomar in Padmaavat (2018), along with Kruti Mahesh, says, “I am grateful to filmmaker Sanjay Leela Bhansali for ensuring that Kruti and my name is mentioned every time the song is showcased. However, if others have had negative experiences, I will certainly support them. Unfortunately, choreographers face struggles despite bringing life to songs. Even after spending 36 years in this profession, I still feel unrecognized in the industry. If you don’t actively promote your name and achievements, recognition remains elusive. I empathize with Bosco and stand in solidarity with him.”

Vrushali Chavan, who assisted Farah Khan before starting independently in 2015 and has choreographed the single ‘Swag Mera Desi’, among others, asserts, “Every artiste deserves rightful acknowledgment. A song belongs as much to the choreographer as it does to the music director or the singer. In many cases, a visually appealing song serves as an invitation to watch the film. I have faced this situation – choreographed all three songs in a film only to find my name missing from the credits on YouTube. I had to request them to add my name, but by the third song, I gave up. It’s a sorry plight that we have to ask and remind people of our contribution.”

In November, when Pippa’s song, Main Parwaana, was praised for its choreography, netizens pointed out that dance director Vijay Ganguly’s name was missing from the song promo on YouTube. What started as murmurs then has now become a call for change after choreographer Bosco Martis, on Thursday, expressed his disappointment over not being credited in the promos of Fighter’s song, Ishq Jaisa Kuch.

In an Instagram post, Martis noted that while composers, lyricists and singers are acknowledged in song promos, choreographers “who make the actors and the nation dance” are not extended the same benefit. He hoped that the industry will take note of it and course-correct.

His plea has been immediately heard by Hrithik Roshan, who features in the dance number with Deepika Padukone. Sources say that Fighter’s leading man sprung into action yesterday, initiating a dialogue with filmmaker Siddharth Anand.

A source reveals, “As a superstar who is known for his dancing skills, Hrithik wasn’t comfortable with a choreographer not getting his due. By Friday afternoon, in the YouTube version of the song, the entire credit list was added, including names of the choreographers—Bosco-Caesar, Remo D’Souza and Piyush-Shazia. That said, it remains to be seen whether other production houses will make it a norm. Hrithik has instructed his team to be mindful of this in his future projects.”

With Fighter less than a month away from release, director Siddharth Anand has already given us a peek into the film’s world with the teaser and two songs. While the party number Sher khul gaye saw Hrithik Roshan, Deepika Padukone and Anil Kapoor hit the dance floor, Ishq jaisa kuch served crackling chemistry between the leads. Given that Fighter is an aerial action thriller, it turns out that the director wanted to keep the songs to bare minimum. Sources tell us that two more numbers are on the anvil, with one picturised as a dream sequence since Anand felt that it didn’t lend naturally to the thriller that sees Roshan and Padukone as fighter pilots in the Indian Air Force.

Like Ishq Jaisa Kuch, the upcoming romantic number, composed by Vishal-Shekhar and shot by Satchith Paulose, has been canned in the picturesque Italian island of Sardinia. Apparently, the director’s brief to choreographer Bosco Martis and art designer Rajat Poddar was to make it look dreamy.

A source reveals, “Ishq Jaisa Kuch and the other romantic track are part of dream sequences and not related to the film’s proceedings. Both songs were shot in October, across the beautiful locales of Sardinia. Siddharth wanted each number to look grand, glamorous and distinct. Since Bosco and Rajat have worked with him on chartbusters from War [2019] and Pathaan, they knew exactly what he wanted. While Ishq Jaisa Kuch  has been imagined as a sensuous number on the golden beaches, the upcoming one is an exotic dance track set in the outdoors. Caravans, bonfires, barbecue and a dance floor form the set-up.”

The last track has been filmed in Kashmir and will serve as a background song. The source adds, “In the movie, it has been used to introduce the central characters, including those essayed by Akshay Oberoi and Karan Singh Grover. It focuses on the pilots’ indomitable spirit and their camaraderie.”

Chandu Champion could well be Kartik Aaryan’s most demanding film. Only days ago, the actor shared how he filmed an eight-minute single-shot war sequence at Aru Valley in Jammu and Kashmir for Kabir Khan’s ambitious project. After the taxing Kashmir leg, it looks like the actor-director duo are seeking a change of pace with a lighter schedule.

Over the past week, Aaryan filmed a special dance number at Film City in Goregaon. The song has been choreographed by Bosco Martis.

“Studio 5 at Film City was blocked for four days for the shoot. The dance number sees Kartik shaking a leg with over 50 background dancers. Even though a dance track may sound at odds with the vein of the film, Kartik and Bosco have attempted something different here, making it a song that fits seamlessly in the narrative,” reveals a source.

Khan’s passion project, billed as “the true story of a man who refused to surrender”, celebrates the indomitable spirit of Murlikant Petkar, who was rendered paraplegic after sustaining injuries in the 1965 India-Pakistan war. He then rose against the odds to become India’s first Paralympic gold medalist in 1972.

In April, mid-day had reported that Satyaprem Ki Katha’s unit had lined up the shoot of four songs, the last being Kartik Aaryan’s introductory track (Groove to garba, stop, repeat, Apr 29). Last week, Aaryan wrapped up Sameer Vidwans’s directorial venture with a grand dance number. We hear the song plays out as a dream sequence, and depicts Christian, Muslim, Gujarati and south Indian weddings.

It turns out the song was Aaryan’s idea, as he felt that a lavish introductory number would enhance the appeal of the romantic drama that also stars Kiara Advani.

A source reveals, “Sameer and producer Sajid Nadiadwala were in two minds about it as it’s an expensive affair, costing almost Rs 7 crores. On Kartik’s insistence, they decided to go ahead with it. In the narrative, the lead character Satyaprem wants to get married, and is dreaming about his prospective wedding.”

Production designer Rajat Poddarr and cinematographer Manu Anand, along with the director, had four set-ups built to showcase the different nuptials. While two sets were erected at Madh Island, the backdrops for the Muslim and Gujarati weddings were created on the grounds at Vrundavan Studio in Malad.

“The Christian ceremony’s backdrop is influenced by the vibe of Santorini, Greece. For the Gujarati shaadi, a mohalla was built, while huge replicas of famous temples from the south were created for the south Indian wedding. The Muslim nuptials take place in a banquet hall.”

The dance number was shot in four days, with Bosco Martis as the choreographer. The source adds, “Kartik was involved in the song from day one. He has danced his heart out in it.”

At the fag end of the filming process, the team behind Kartik Aaryan-starrer Satyaprem Ki Katha is set to conclude the shoot with a special dance number at a picturesque beach in suburban Mumbai.

A source close to the production says, “A massive set was erected for the song 10 days ago. A bungalow was booked for the shoot. There will be breathtaking views and a scenic backdrop that will enhance the visual appeal of the dance song. The team is keen to create a visually stunning spectacle.”

Choreographer Bosco Martis is set to infuse his energy into this special number. “The choreography is contemporary, and the music is groovy. The track will be shot over the week. The team started filming with Kartik today.”

Directed by Sameer Vidwans, the romance features Kiara Advani alongside Aaryan.

For the team of Dream Girl 2, the perfect way to end the film’s shoot is by going back to the beginning. Ayushmann Khurrana and director Raaj Shaandilyaa will kick off the comedy’s final schedule in Mumbai on March 3 with the shoot of a jagrata song, which forms the film’s opening sequence.

While the number was originally to be shot in Mathura, producer Ekta Kapoor and director Shaandilyaa did a rethink. Sources tell us that it is now being mounted on a grand scale at Chandivali Studio in Mumbai.

What caused the change of heart? It turns out that after the smashing success of Shah Rukh Khan’s Pathaan, many producers are keen to make their movies grander, thus giving audiences a big-screen experience.

A source reveals, “Ekta decided to make it a lavish affair as it is Ayushmann’s introductory number. He will be seen making a grand entrance, with the help of a harness.”

The source adds that the initial plan of canning the song at a live location in Mathura — where the Khurrana and Ananya Panday-starrer is set — didn’t turn out to be practically feasible. “If it was to be filmed in Mathura or Benares, many dancers and junior artists would have to be flown there from Mumbai, adding to the cost. So, Ekta wisely decided to shoot it in Mumbai. She was keen to have an opulent song that would translate well on the big screen. Since the small-town comedy did not naturally lend to a grand number, she thought it best to reimagine the jagrata track.”

An elaborate set, depicting a sprawling mohalla, complete with tents, has been erected by production designer Rajat Poddarr. “The team has built a 40-foot statue of Durga Mata, which will serve as the backdrop against which Ayushmann and over 100 background artists will dance. The devotional track, choreographed by Bosco Martis, will segue into a peppier offering that will see the protagonist shake a leg with his friends. Ekta felt its transition into a fast-paced number will appeal to the youth.”

The sequel to Dream Girl (2019) also stars Paresh Rawal, Seema Pahwa and Abhishek Banerjee, and rolled last August.

Kapoor and Shaandilyaa remained unavailable for comment.

Earlier this month, mid-day had reported that Kartik Aaryan was shooting a last-minute song for Shehzada, which was one of the reasons the film’s release was deferred (Taking a chance on dance, Feb 2). It appears that the team didn’t look too far for inspiration. The makers of the Aaryan and Kriti Sanon-starrer recently released Character Dheela 2.0, a recreation of Salman Khan’s hit number from Ready (2011).

Production designer Rajat Poddarr reveals that Aaryan — who is also one of Shehzada’s producers — suggested incorporating a promotional song to amp up the buzz around Rohit Dhawan’s directorial venture.

“Kartik wanted to [reimagine] this number from Ready, in his own way. Initially, the team felt that the situation didn’t require a song, but he insisted it would enhance the movie’s promotions. He contacted Bosco [Martis] for the choreography, and me for the sets. He suggested to the producers that this would be his team, as we had done the title track of Bhool Bhulaiyaa 2 together,” shares Poddarr. 

With the team in place, it was time for execution. The leading man prepped for two days with choreographer Martis, before the dance number was shot over three days in the last week of January at a Madh Island bungalow. Building the set in such a short time was no mean feat.

“We were constructing one part of the set, while Kartik would be shooting in the other part. We built different sets, including a swimming pool, ramp, and a colourful scooter. We submerged the ramp in water so that Kartik could do his slide step. He had referenced videos with Bosco, Manu [Anand, director of photography] and me [to determine the song’s treatment].”

Character dheela had become a rage when it was released. Aaryan knew that stepping into Khan’s dancing shoes was a huge responsibility. So, instead of recreating the track, step for step, he did the next best thing. Martis says, “Recreating Salman bhai’s song could have created a backlash. So, we decided to celebrate the song. We wanted to make it peppier and relevant.”

Rocket Gang promises to tick all the boxes that make a movie the perfect family film. Dance, comedy, drama, and fantasy Bosco Leslie Martis’ directorial debut has already piqued people’s curiosity and now, the makers have upped the ante by announcing the release date of the project. The film is slated to release on November 11 as a Children’s Day weekend treat.

Speaking about the film, Bosco says, “We all have worked really hard to make Rocket Gang. It is a labour of love and passion. As makers, our aim is to have everyone across the nation enjoy the drama to the fullest. Keeping the same vision in mind, we think 11.11.22 will be the best date to present Rocket Gang. See you at the movies!”

Shariq Patel, CBO of Zee Studios, said, “This is a film created for families and kids to come together and enjoy a perfect family time. We at Zee Studios have nurtured it from script to screen. It is full of dance, music, and masti and is meant for a theatrical experience. Considering the same, we are thrilled to release the film on 11. 11. 22 around Children’s Day.”

Rocket Gang, directed by Bosco Leslie Martis and produced by Zee Studios, stars Aditya Seal, Nikita Dutta, Mokshda, Sahaj Singh Chahal, Jason Tham and five young kids, Dipali Borkar, Tejas Varma, Jayshree Gogoi, Aadvik Mongia, Siddhant Sharma, in pivotal roles.

Amit Trivedi discusses the evolution of his relationship with Bosco Martis — from that of a musician-choreographer to musician-director — with fondness. Having shared a long-standing relationship with the choreographer who has designed the dances to his tracks, Trivedi says the duo had been eager to associate on projects for a while.

“When I learnt that he was making his directorial debut, I was happy that he chose me. A choreographer of his calibre could have picked anyone, but it felt good that he picked me for Rocket Gang. He is an amazing guy to work with. He’s always charged, positive and pumped. I’ve had so much fun working on this one,” says the musician, who was tasked with the job of creating songs for a film on five kids, with a simple brief.

“He said that I should imagine that I was creating songs for the current lot of actors like Hrithik Roshan, and Tiger Shroff, so that I don’t work with the mindset that I need to cater to kids.” Working on the title track, they concluded, would serve as an ice-breaker and enable them to understand one another’s working style. The task, however, was no mean feat for Trivedi. 

“He made me raise the bar. When I took the first draft to him, he said he liked it, but pushed me to give it another go. At one point, I got quite irritated, but soon realised that he was making me better. He helped me tap into [my skills]. For the title song, which showcases the kids preparing for a dance reality show, he wanted something unusual. When I created the draft in accordance with his preferences, he said, ‘I need to see the dadagiri [of the kids]. Amit, you’re the boss, show me your dadagiri.’ That did the trick. We worked on four drafts. That’s how he motivated me.” 

Trivedi admits that work on the barrage of films that were put on hold amid the pandemic has resumed in full swing, with the big productions currently taking his attention. He had been working on a coveted set — the Tamil, Telugu, Kannada and Malayalam iterations of Kangana Ranaut’s Queen — all of which, he says, have been shelved due to a fall-out. “The films were ready, and the soundtracks were done, and then [they] didn’t release. The Malayalam version was such a fantastic film; but a major issue affected the release.”

Only days after we got a sneak peek into the latest schedule of Pathaan by way of some leaked pictures, there is more news trickling in about the espionage thriller. mid-day has learnt that Shah Rukh Khan and Deepika Padukone, who were shooting in Mallorca over the past 10 days, have now moved to Cadiz — a port city in southwestern Spain — for the next leg. Director Siddharth Anand has lined up a lavish song shoot in the picturesque locales of Jerez de la Frontera. What makes the dance number all the more special is that it will see the superstars try their hand at flamenco, a popular dance form that originated in southern Spain.

Earlier this week, the leads began their stint in Cadiz by canning a chase sequence on the streets of the port city. On Thursday, it was time for Khan and Padukone to put on their dancing shoes. A trade source says, “Jerez de la Frontera is known for its flamenco music and dance. The song, which is currently being filmed, has a flamenco influence and is choreographed by Bosco Martis. By the time Siddharth completes the song shoot, John Abraham — who had flown down to India for the promotions of Attack — will return to Spain. He will film some confrontation scenes with Shah Rukh, after which the director can call it a wrap on the Spain schedule. The unit is expected to fly back by March-end, and will then turn their attention to the patchwork shoot in Mumbai.”

Considering Pathaan is one of the biggest releases of 2023, there has been tremendous curiosity about the spy thriller. The fans’ interest piqued further when the pictures from Mallorca hit the Internet. The source reveals that over the last week, the unit shot a song in Mallorca. “The track, titled Nasha, is sung by Shilpa Rao and choreographed by Vaibhavi Merchant. The lyrics are a mix of Spanish and Hindi. Apart from the number, Shah Rukh also shot an elaborate action scene with John in the coves of the island.”

Mission Kashmir’s dance number Rind Posh Maal featuring Hrithik Roshan, catapulted choreographers Bosco-Caesar into limelight. Like other choreographers, including Farah Khan, Ahmed Khan and Remo DSouza, Bosco Martis will progress to film direction with his debut film Rocket Gang, a horror dance-comedy.

Talking about his directorial debut, which stars Aditya Seal and Nikita Dutta, Bosco says, “In spite of the pandemic, we sailed through, battling all the challenges that were thrown our way. Every time we shot for Rocket Gang, we were extra cautious and ensured all the social distancing norms were followed. I always wanted to direct a genre-defining movie. As a director, the story to me is most important. I was certain that the movie I wanted to make would be extremely entertaining and involve a lot of dancing. I think this will be the first time that the Indian audience is going to see this combination of horror, dance and comedy. When I say horror, it’s not scary horror, but there’s a little bit of fantasy involved.”

He adds, “We have a solid group of choreographers-turned-directors who have had a fabulous run at entertaining the country. Farah Khan, Remo DSouza and Ahmed Khan are successful choreographers who have turned directors and delivered massive hits. I’m glad that I have the opportunity to join the bandwagon, but there’s no pressure at all. I am looking forward to entertaining the country with my stories which I’m sure is every filmmaker’s goal.”

Speaking about his favourite dancers from the industry, Bosco shares, “There are a lot of good dancers in the industry — Hrithik Roshan, Shahid Kapoor, Tiger Shroff. I also feel Ranbir Kapoor is a very natural dancer, and the way he performs is effortless. Prabhudheva is a legendary dancer from the Indian fraternity who completely blew my mind. I would record his videos and try to copy his moves. They’re all great dancers. They have their unique styles.”

Nikita Dutta, who was seen playing actress Jia Sharma in Shahid Kapoor-starrer Kabir Singh and in the MX Player web series Aafat, was all set to get her mother to fly down from Delhi to Mumbai for the screening of her upcoming film, which will release on an OTT platform. However, her plans went for a toss as she tested positive for Coronavirus and her mother, too, fell sick.

Nikita contracted the virus while shooting for the dance movie Rocket Gang with actor Aditya Seal in Mumbai. The film marks the directorial debut of choreographer Bosco Martis. Talking exclusively to Bombay Times, Nikita says, “It’s unfortunate and frustrating, but acting teaches you to be patient. We have been trying to shoot the film since 2019, but we had to halt the schedule due to the pandemic. We resumed the shoot in December last year, but Bosco was detected with COVID; later, Aditya tested positive, and now, it’s me. I have been asked to quarantine at home for 10 days and take a test again.”

Nikita adds, “It’s difficult to maintain social distance while shooting certain scenes, and actors cannot wear a mask when the shot is on. Our safety rests on the shoulders of the crew. Safety precautions like using sanitisers, masks and temperature checks are in place, but people are still contracting the virus. We cannot move the shoot to another city either as our set has been constructed in Mira Road and change in venue for a third schedule is logistically impossible.”

What made things more difficult for Nikita was her mother’s illness that coincided with her contracting the virus. “My mother had to be rushed to the ICU due to some complications. Luckily, it wasn’t because of COVID. I was about to fly to Delhi to see her, but I couldn’t as I tested positive for COVID-19.”