Showing posts with label Bullett Raja. Show all posts
Showing posts with label Bullett Raja. Show all posts
Vikas Dubey case controversy throws spotlight on the encounter shown in Bollywood films
8:44 AM
“Filmi” is what everyone said on hearing of the Kanpur encounter. Encounters happen in secluded spaces, of course, out of our sight, but cinema has played out the episode of the encounter so often that it becomes an immediate reference point
Rachana Dubey, Niharika Lal and Divya Kaushik (BOMBAY TIMES; July 11, 2020)
WE HAVE CREATED A FORMULA FOR SHOOTOUT FILMS — CLOSE TO FACTS WITH CINEMATIC LIBERTIES: SANJAY GUPTAFilmmaker Sanjay Gupta, who has helmed Shootout At Wadala and written Shootout At Lokhandwala, says, “In my entire career, I don’t think I have come across a single genuine encounter. What has happened recently is ludicrous. There are so many loopholes in the story. The Lokhandwala encounter (on which the movie Shootout At Lokhandwala was based) had witnesses, but what happened on the staircase and inside the house, no one saw. We have created a formula, at least, for the Shootout films — a true, shocking story, as close to facts as possible with cinematic liberties. That’s what makes them stand out. It is non-fiction, but has the star cast and the trappings of a masala film and it takes a stand on the right and wrong.
While making a film, once we have the story in place, we start talking to survivors, witnesses and people who were connected with, let’s say, an incident, including the journalist who has reported stories around it. Author S Hussain Zaidi was a great reference for Shootout At Wadala. For Shootout At Lokhandwala, we had A A Khan (former IPS officer) and a lot of the witnesses from the building. Now, talking about the Vikas Dubey encounter, it will lend itself one hundred per cent to a movie and I have no doubt about that.”
ENCOUNTER MOVIES ARE BASED ON POLICE VERSIONS: DILIP SHUKLA, DABANGG WRITER
In encounters, there are no witnesses. Police’s word is final. What we are seeing in Vikas Dubey’s case, there are no witnesses, what police is saying is the final version. If a filmmaker tomorrow makes a film on Vikas Dubey, he’ll make it based on the statement the police gives today.
Whether what the police is saying is right or wrong is something a filmmaker can’t find out. When a film is based on a real incident, like Ab Tak Chhappan and Shootout At Lokhandwala, the police’s version is what writers and directors have.
PEOPLE TEXTED ME FRIDAY MORNING SAYING ‘YEH ENCOUNTER TOH AAPKI FILM BULLETT RAJA KE SCENE JAISA HAI’: TIGMANSHU DHULIA
We hear stories of UP encounters and gangsters and in films, we fictionalize it — we imagine and create scenes, and sometimes in life fiction becomes reality.
It has happened with me often. In my first film, Haasil, I didn’t mention the university or Allahabad in the film, but people knew it was based there. The situation of Allahabad University was not as bad as it was shown in the film, but after one year it reflected the film. It was shown on many TV channels what was happening in the film and what was happening at Allahabad University at that time.”
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RAEES (2017)
Raees, a local gangster, is unknowingly implicated in smuggling explosives that lead to serial blasts in the country and aware that he will be killed, Raees surrenders to the police. He is later taken to a deserted spot and killed in a staged encounter by police officer Majmudar.
SHOOTOUT AT LOKHANDWALA (2007)
Shootout At Lokhandwala is based on the 1991 Lokhandwala Complex shootout, a real-life gun battle between gangsters and Mumbai Police. In the film an ‘encounter squad’ is created to eliminate terrorists and gangsters.
ARTICLE 15 (2019)
The Ayushmann Khurrana-starrer delves into the issue of caste divide. In the film, Mohammed Zeeshan Ayyub plays the role of a local youth leader, who is killed in a staged encounter for opposing a political alliance.
AB TAK CHHAPPAN (2004)
Ab Tak Chhappan, inspired by real-life Mumbai police officer Daya Nayak, is the story of encounter specialist Sadhu, played by Nana Patekar. Responsible for handling the underworld, Sadhu holds the record of having killed 56 people in encounters.
ENCOUNTER: THE KILLING (2002)
The film is about a police inspector, played by Naseeruddin Shah, who is trying to find the parents of a young mobster he accidentally killed during a chase.
Tigmanshu Dhulia launches his AD Virr Saxenaa as an actor in Milan Talkies
8:25 AM
Virr Saxenaa plays the hero in a film within the film, being directed by Ali Fazal
Natasha Coutinho (MUMBAI MIRROR; February 18, 2019)
Tigmanshu Dhulia’s upcoming directorial Milan Talkies will mark the acting debut of his assistant director Virr Saxenaa. The story features Virr as a movie star being directed by Ali Fazal’s protagonist.
According to the debutante, the role came to him after a “long chase”. “I met Tigmanshu sir in 2013 when he was shooting Bullett Raja. He told me I could assist him on his next film, which would be Milan Talkies, featuring Imran Khan and Priyanka Chopra. Then the cast changed to Aditya Roy Kapur and Shraddha Kapoor. But Bullett Raja didn’t fare well, and Milan Talkies got pushed. I finally got to assist him on Yaara, with Vidyut Jammwal, Amit Sadh and Shruti Haasan, but even that film has yet to release,” Virr informs.
Between his stint as an assistant director and his acting debut, Virr was at a London university, getting a degree in Finance before Milan Talkies returned to him, this time to launch him as an actor. “Sir pointed out that my Hindi wasn’t good, so I did theatre with Nadira Babbar before we started shooting,” he shares.
The film borrows its title from a theatre in the protagonist’s hometown which screens old-world movies. “Ali’s character enters Bollywood and makes a film in which I play the hero. He returns to his hometown to shoot the film. We filmed in Mathura and Lucknow,” Virr says, describing his co-star, who hails from Lucknow, as “down-to-earth and helpful”.
Vidyut Jammwal picks some of the near-impossible stunts he made possible on screen
7:55 AM
Roshmila Bhattacharya (MUMBAI MIRROR; February 2, 2017)
How do I single out my most dangerous stunts when nothing I’ve ever done is boring and ordinary, regular or mundane? Everything has to be new and daringly different. I won’t punch or kick like I’ve seen another guy doing. When you are not from the industry, you have to prove yourself every time by doing something that will shock and silence everyone. For me, the silent treatment from the industry is amazing because it means there’s been a blast!
Commando 2 (2017)
There are 25 big stunts in the film. We had planned to do 38 but ran out of space. We’ll up the numbers in Part 3. The biggest of them, and my favourite so far, is the one where I climb three floors of a building.
Normally, action heroes across the world climb up one floor and jump down. I climbed up three flights, using a regular ladder to haul myself to the first floor, then pulling it up with all my strength to place it against the wall and climb the second and then the third floor before leaping back to terra firma. It took me three months of rehearsals to pull this off and it’s the scariest thing anyone can attempt. After seeing it, I’m sure the whole world is going to ask, “How did he do it?”
In the earlier film, I had jumped over a moving car coming straight at me with a flying front somersault. I’ve done this stunt live at stage shows without cables and got plenty of claps. Four years later, you will see me slide below a moving car. Thanks to all those years of practising yoga, I did a full back bend and went under. I could see the engine… Every nut, bolt and wire... The first time I went through very slowly and just scraped through. The second time, I went faster and the third time I zipped through!
Commando (2013)
I had squeezed through the window of a car in Commando: A One Man Army. It was important to squeeze through at the right time so I didn’t hit my head on the bar. Given my size, it was near impossible but I made it possible through timing, flexibility and conviction.
In the sequel, we’ve taken it a notch higher. I squeeze through the small window of a real building. We had rehearsed the stunt in Mumbai but when we reached the location, I realised that the window was too small. But I was still convinced I could do it, and I did. The mind went through the window first, and then the body.
What made it all the more difficult for me is that I’m taller than most actors. I’ve seen Jackie Chan and Tony Jaa do it, but Jackie is five-foot-five-inches and Tony an inch taller while I’m five-foot-eleven-and-a-half inches, besides being a big muscular boy. I had to squeeze all my muscles through that small space without hitting my chin. It was all about timing! I’ve often been asked how I get into small spaces and have pointed out that being a non-filmi kid, I have to be able to grab every opportunity that comes my way. Give me an opening — a small window — and I’ll get in.
Bullett Raja (2013)
I didn’t have much to do in this Tigmanshu Dhulia-directed film but there was one particular stunt that caught the eye.
I was supposed to climb on to this guy’s shoulder and decapitate him. Instead of choking him with my hands, I used my legs to bring him to his feet.
Force (2011)
Nishikant Kamat’s action-thriller was a remake of Gautham Menon’s 2003 Tamil hit, Kaakha Kaakha. It was my first Hindi film and I caught the eye with my individualistic, distinctive style of fighting.
The stunts I did then no longer seem so difficult in retrospect but I remember the body roll I introduced in the film when I take on these huge black guys. One of them was six-feet-six-inch tall. I got on him, rotated around his body and brought him to the floor.
Since it was well appreciated, I repeated it in Commando, doing the body roll twice. In Part 2, I not only rolled but rotated around the guy before bringing him down. There’s a natural progression even in the action sequences.
I also took the ‘wall back’ to another level of difficulty in an attempt to make it more visually challenging in my upcoming espionage thriller. In Force, I had climbed a wall, done a back somersault and landed on the floor. I repeated it in Commando and then in the sequel, I climbed the chest of a guy standing in front of me instead of an immobile wall, and then got the guy behind me with my leg.
What made the stunt two times more difficult was that I had to be careful not to injure the guy whose chest I climbed in the ribs and not kick the one behind me in the head. I had to be careful of other people’s lives while pushing the benchmark.
FWICE threatens to disrupt shoot of Tigmanshu Dhulia's next unless he clears Bullett Raja's dues
7:50 AM
Anirban Das (MID-DAY; May 5, 2016)
Three years after Saif Ali Khan and Sonakshi Sinha-starrer Bullett Raja released, producers Tigmanshu Dhulia and Rahul Mittra have been accused of not clearing workers’ dues to the tune of Rs 40 lakh.
A source says, “Several unit hands, including the art director, are still awaiting payment. Last year in July, the Federation of Western India Cine Employees (FWICE) issued a non-cooperation notice against Tighmanshu and Rahul, but they have still not cleared the dues. The workers have threatened to stall the shoot of Dhulia’s next film when it rolls in June.”
Dhulia, on his part, says “many people had lost money” after Bullett Raja failed to set the cash registers ringing. “Even I also lost R 65 lakh. But I am compensating the due payment. The (same) art director is working with me on my next film based on Subhash Chandra Bose,” he explains.
However, Rahul has a different story to offer. He says the unit hands were quoting different figures at different points of time. “How can anyone demand a random amount like Rs 40 lakh? The due amount is just Rs 2 lakh. Previously, they asked for Rs 7 lakh; then it became Rs 11 lakh. The Western India Film Producers’ Association has asked me not to make any payment since they are demanding an unjustified amount. I will pay them once the association resolves the matter,” he adds.
Dilip Pithwa, general secretary of FWICE, defends the workers involved with Bullett Raja. “The film released in 2013 and it is unfair if people have still not been paid. The federation had also sent a letter to Rahul’s current employer, Wave Pictures, on April 26 and the break-up of money on that letter also stated that the due amount is over Rs 40 lakh,” he says.
After hattrick of flops, Saif Ali Khan open to renegotiating his remuneration?
7:57 AM
Ankur Pathak (MUMBAI MIRROR; December 10, 2014)
The last month has been particularly traumatic for Bollywood with as many as five films with an A-list cast, taking a drubbing at the box-office. From Akshay Kumar's The Shaukeens and Ranveer Singh's Kill Dill to Emraan Hashmi's Ungli, none of the projects have managed to live up to the audience's expectations. Buzz in trade circles is that many actors are taking a hefty pay cut - in some cases, nearly 40 per cent - while producers are slashing budgets by half to make projects financially viable in this uncertain market.
One such actor is Saif Ali Khan, whose last release definitely did not have a happy ending, commercially. Mirror has learnt that after the film's dismal opening, the makers of his upcoming ventures are exercising caution, given that this completes a hattrick of flops for the actor -- starting with Bullett Raja, Humshakals and Happy Ending.
Ekta Kapoor is reworking the logistics of the Sujoy Ghosh-directed screen adaptation of the Japanese bestseller, The Devotion of Suspect X, starring Saif. Its budget has been scaled down by almost one-third and the actor's remuneration is also being substantially reworked. Ditto Reema Kagti's next Mr Chaalu, starring Saif and Kangana Ranaut.
Admitting that there has indeed been a fluctuation in his fee, Saif told Mirror that money is not a priority at the moment. He said: "Prices go up and down. Right now the quality of work is more important to me than money. Next year should be about good roles."
Stressing on the need for stars to take a reality check so that investments can be recovered, trade analyst Komal Nahta reasoned, "If a star charges Rs 25-30 crore, he should at least ensure a Rs 20 crore opening which is not happening. Why just Saif, every star needs to reconsider his pay-package! All of them know where they are going wrong, but they choose to look the other way. The flops should be eye-openers."
Another trade analyst, Amod Mehra, however opined that it is not the star's salary but the content that has failed. "Yes, the money they charge contributes to a movie's failure, but that's not the only factor. We've seen some terribly scripted films recently," he pointed out.
Ramesh Taurani, the producer of Saif-starrer Race and Race 2, who recently had monetary differences with the actor, endorsed Mehra's view. "Saif's films haven't worked because the content wasn't good. But he's a huge star and will bounce back with a hit," he stated.
Commenting on the same, Kabir Khan, who is directing the mega-budget action thriller Phantom, starring Saif and Katrina Kaif said: "I cast Saif in Phantom because he is perfect for the role. Irrespective of hits or flops, he is a terrific actor and that, not numbers, will always be a director's priority as far as casting is concerned."
Ritesh Sidhwani, who is producing Kagti's film, agreed with Kabir: "We have full faith that Saif will deliver, just like he did in Dil Chahta Hai. We start filming with Kangana and him in January."
Sonakshi Sinha in a dilemma again as her 3 films releasing around the same time?
7:54 AM
Shaheen Parkar (MID-DAY; November 17, 2014)
Sonakshi Sinha is in a fix. Two of her upcoming films — Action Jackson with Ajay Devgn and Lingaa with Rajinikanth — release back-to-back in December, while Tevar, her film with Arjun Kapoor, is slated for early January. So the actress is currently juggling her dates for the promotions of the three films.
Ironically, Sona had found herself in a similar situation in November last year too when two of her films — Bullett Raja and R...Rajkumar — released a week apart.
Says a source, “ Dividing her time between the promotional activities for her three upcoming films will prove to be quite a task for her. She is trying to juggle her dates as she doesn’t want to pick one film over the other.
The source adds, “ But it will undoubtedly be difficult for her to promote the two films and come up with an excuse for choosing one over the other. Lingaa marks her foray in Tamil cinema, so she will have to keep logging air miles between Chennai and Mumbai.” Over the weekend, Arjun Kapoor was seen promoting Tevar alone in a reality show as Sonakshi had to be in Chennai for the music launch of her Rajnikanth starrer.
At the event, Sona made Rajni blush by humming, “All the Rajni fans, don’t miss the chance, lingaa dance lingaa dance.” Her spokesperson says, “She will be promoting all the three films.”
My mother is a product of the 60s, but her mind is very sharp & liberal-Saif Ali Khan
10:29 AM
Priya Gupta (BOMBAY TIMES; November 9, 2014)
Saif Ali Khan was amongst
the first superstars to have the sensibilities multiplex India is
now coming to. And yet, he wandered off-track in the hope of
hedging his bets, trying out new things, hoping that it would appeal to
other people, even though he knew that it was not appealing to him. But
he has now understood that while directors like Sajid Khan are his
friends, who he is fond of and has therefore made up with, he needs to
stick to his own sensibilities when it comes to choice of scripts and
films. He seems to have returned to his home turf in Happy Ending and is
visibly excited about its release. Over an hourlong conversation, a
charming and super bright Saif spoke to Bombay Times about his decision
to be disciplined with his body, his relationship status with his
partner Dinoo Vijan and why he now sends his scripts to his mother.
Excerpts:
Happy Ending seems to be your home turf. Talk about it versus your recent choices that didn't do well.
I wanted to do this film for a long time. It's a space that I think I enjoy and I identify with. I have had an interesting time over the last few years and I have made some money and done some things in my personal life, like Sara is in Columbia, Pataudi is being renovated, but artistically, there was a dimension to my career that was missing. An intellectual angle was missing, which is what actors are meant to be apart from showmen. Having an academic side of sitting with scripts, polishing them, discussing them with directors in making something great out of something average. Some of us stars do that. But I can't remember the last time I did that. I think I have been inconsistent. And rather than following an artistic drive, I did other things like make money, which is fine, and is not a bad thing and it's certainly not too late, as I am aware of that. Also there was a hedging of bets in my mind, where I thought I would do Bullett Raja and if it did well, would be great, but it didn't.
Humshakals was an idea of trying to do something that might appeal to other people that I myself was not totally convinced about. It could have been viewed as a gamble on comedy, but let's just say, unfortunately, it didn't work out on any level. I always knew that there was a Happy Ending and knew that this is a film that was home turf. I have learnt my lessons and understand that people try and take away your exclusivity. Instead of understanding who you are, they try and make you something else.
Did it have an impact emotionally?
It was a learning experience. I have had ups and downs throughout my career and you always see people run away and run back. It doesn't harden you, but can certainly give you an attitude. You stop taking people seriously and then, you know the people you should take seriously who are there constantly or people who tell you the truth. The main point is that I feel lucky that I have woken up to it late, but I feel that I have the same sensibility as my audience. So I really had no business to wander off-track. I was perhaps the only actor who could have taken it forward. My own sensibilities echo with the audience and I will stick to that in the future. I have learnt my lesson.
Given a whole new set of young actors who are already stars, can you afford to make mistakes at this stage in your career?
They should not be terrible mistakes. Also, other things are important. The 40s is a time that is good to you, if you are good to them. Things like alcohol won't be forgiven now. You can't afford to drink a night before your shoot. So now, during a schedule, I don't drink unless I have the next two days off. And that is a recent change. Most stars have some personality that they are selling and we all have that, as long as we nurture it and look after it and put it in the right movie. I would rather do films like Happy Ending, where I feel confident and know that it's not just fun, but years of experience and I am doing something which no one else can quite do the same way, rather than do films where I put myself in a situation which other people can do much better.
What is the personality you represent?
That of an urban, vulnerable and usually fun person, who is trying to figure things out. There are demons in his own mind, but no real villains in his movie, except for his own lack of commitment. Having said that, this is just this film and that can't go on. I was talking to my mom recently. Some silly people can imagine that older people are less relevant. My mother is a product of the 60s, but her mind is very sharp and very liberal. I love talking to her about movies, which I never did before. She tells me that characters should be likeable. It's that simple. She asks me, 'Why are you doing a scene that is making you look like a bad person?' For scripts that I am now offered, I send them to her. I have never done this in the past. She would earlier call me and say, 'You have turned into such a nice actor.' That would happen for films like Parineeta and Omkara. Maybe recently, she felt that I could do with some advice. She critiques the scripts and tells me a couple of them that she loves. The point is that experience comes into play and I am lucky that I have the benefit of her wisdom.
Talk about your mother?
Both my parents have been very strong characters, particularly her. She is so driven by a lot of issues she is passionate about and what has always amazed me is her liberal mind. It's a forward-thinking mind. It's a hip, yet culturally very grounded mind. She is the kind of mind who was totally okay with frontal nudity of Nandana Sen in Rang Rasiya when she was heading the Censor Board. What surprises me is why I didn't ask my mother before. I think it's just silly that when you are younger, you just don't ask your mummy. As in, my wrong mind, I thought they just don't get our movies. Of course, that is a different matter that their movies are still much better than what we now make. And their script sense is very good and that is why they were top stars. So, it was just stupid of me. But it's something that I have learnt. Maybe there was a sense of doing one's own thing and now, there is a sense of wanting her involvement. After my father passed away, I worry more about her and this is something that connects us. Some actors are not relevant mentally, so it's not good to take their advice, but her advice is contemporary. Amma is not stuck, she is very open. The TV and the movies she watches is the same as me. One should not have a preconception that senior people are out of touch or don't know what they are talking about. I send her the script, she will make notes and then when I see her, she will tell me. We talk actor to actor. She once told me, 'If the same script had been offered to Aamir Khan, he would have polished it till it became a gem.' And then she said, 'Are you going to do that or go on holiday and forget about it?' That is good advice and I understand and plan to do that with my films now.
While you are this fun guy, who is a bit relaxed on screen, how much of that are you in your real life?
Post my father passing away, I think I have grown up quite a lot, be it the responsibility of my mom or the renovation in Pataudi or educating Sara and Ibrahim or worrying about Kareena. I am a multitude of personalities and I do have mood swings and do have a calm side, which I love, that has built a home, where I can enjoy a glass of wine at the balcony with jazz playing in the background with a lot of patience and peace. But there is also an edgy, hyper side that is irritable, which drives me at times. My personality is exactly like that of my mother. On a good day, Kareena says that I have the best of both of them, but my darkest fear is that I am sometimes the worst of both of them.
Is there a plan that you have for yourself ahead?
My thing now is just to be disciplined enough to live up to my potential. I want the money to be invested and not blown up. There is a certain class in not buying another watch. I have enough of these material things, but would now like to spend on nice things like education funds for kids. It's a different kind of wealth you want to accumulate. I want to be well off, but I don't think I want things any more. There is a certain elegance in living within a budget even if you are rich. To eat simply, drink simple wine. That balance we were brought up in and I think I am turning back to it.
Talk about your relationship with your partner Dinesh Vijan?
We became friends through our respect for each other's work and our partnership is based on work. Our differences were magnified out of proportion. But let me say that we are healthy and hearty and we are very much looking forward to our next release Happy Ending and look forward to making films together under Illuminati. He wants to make films on his own and he should and that will be under his banner and likewise, there are films that I want to do with other people, for which I will have a separate production, where I will make films without him. This allows us both to do things that we are passionate about. We balance each other in a healthy way. I like the fact that he has an understanding of people and things and the advice he gives you is usually spot on.
Happy Ending seems to be your home turf. Talk about it versus your recent choices that didn't do well.
I wanted to do this film for a long time. It's a space that I think I enjoy and I identify with. I have had an interesting time over the last few years and I have made some money and done some things in my personal life, like Sara is in Columbia, Pataudi is being renovated, but artistically, there was a dimension to my career that was missing. An intellectual angle was missing, which is what actors are meant to be apart from showmen. Having an academic side of sitting with scripts, polishing them, discussing them with directors in making something great out of something average. Some of us stars do that. But I can't remember the last time I did that. I think I have been inconsistent. And rather than following an artistic drive, I did other things like make money, which is fine, and is not a bad thing and it's certainly not too late, as I am aware of that. Also there was a hedging of bets in my mind, where I thought I would do Bullett Raja and if it did well, would be great, but it didn't.
Humshakals was an idea of trying to do something that might appeal to other people that I myself was not totally convinced about. It could have been viewed as a gamble on comedy, but let's just say, unfortunately, it didn't work out on any level. I always knew that there was a Happy Ending and knew that this is a film that was home turf. I have learnt my lessons and understand that people try and take away your exclusivity. Instead of understanding who you are, they try and make you something else.
Did it have an impact emotionally?
It was a learning experience. I have had ups and downs throughout my career and you always see people run away and run back. It doesn't harden you, but can certainly give you an attitude. You stop taking people seriously and then, you know the people you should take seriously who are there constantly or people who tell you the truth. The main point is that I feel lucky that I have woken up to it late, but I feel that I have the same sensibility as my audience. So I really had no business to wander off-track. I was perhaps the only actor who could have taken it forward. My own sensibilities echo with the audience and I will stick to that in the future. I have learnt my lesson.
Given a whole new set of young actors who are already stars, can you afford to make mistakes at this stage in your career?
They should not be terrible mistakes. Also, other things are important. The 40s is a time that is good to you, if you are good to them. Things like alcohol won't be forgiven now. You can't afford to drink a night before your shoot. So now, during a schedule, I don't drink unless I have the next two days off. And that is a recent change. Most stars have some personality that they are selling and we all have that, as long as we nurture it and look after it and put it in the right movie. I would rather do films like Happy Ending, where I feel confident and know that it's not just fun, but years of experience and I am doing something which no one else can quite do the same way, rather than do films where I put myself in a situation which other people can do much better.
What is the personality you represent?
That of an urban, vulnerable and usually fun person, who is trying to figure things out. There are demons in his own mind, but no real villains in his movie, except for his own lack of commitment. Having said that, this is just this film and that can't go on. I was talking to my mom recently. Some silly people can imagine that older people are less relevant. My mother is a product of the 60s, but her mind is very sharp and very liberal. I love talking to her about movies, which I never did before. She tells me that characters should be likeable. It's that simple. She asks me, 'Why are you doing a scene that is making you look like a bad person?' For scripts that I am now offered, I send them to her. I have never done this in the past. She would earlier call me and say, 'You have turned into such a nice actor.' That would happen for films like Parineeta and Omkara. Maybe recently, she felt that I could do with some advice. She critiques the scripts and tells me a couple of them that she loves. The point is that experience comes into play and I am lucky that I have the benefit of her wisdom.
Talk about your mother?
Both my parents have been very strong characters, particularly her. She is so driven by a lot of issues she is passionate about and what has always amazed me is her liberal mind. It's a forward-thinking mind. It's a hip, yet culturally very grounded mind. She is the kind of mind who was totally okay with frontal nudity of Nandana Sen in Rang Rasiya when she was heading the Censor Board. What surprises me is why I didn't ask my mother before. I think it's just silly that when you are younger, you just don't ask your mummy. As in, my wrong mind, I thought they just don't get our movies. Of course, that is a different matter that their movies are still much better than what we now make. And their script sense is very good and that is why they were top stars. So, it was just stupid of me. But it's something that I have learnt. Maybe there was a sense of doing one's own thing and now, there is a sense of wanting her involvement. After my father passed away, I worry more about her and this is something that connects us. Some actors are not relevant mentally, so it's not good to take their advice, but her advice is contemporary. Amma is not stuck, she is very open. The TV and the movies she watches is the same as me. One should not have a preconception that senior people are out of touch or don't know what they are talking about. I send her the script, she will make notes and then when I see her, she will tell me. We talk actor to actor. She once told me, 'If the same script had been offered to Aamir Khan, he would have polished it till it became a gem.' And then she said, 'Are you going to do that or go on holiday and forget about it?' That is good advice and I understand and plan to do that with my films now.
While you are this fun guy, who is a bit relaxed on screen, how much of that are you in your real life?
Post my father passing away, I think I have grown up quite a lot, be it the responsibility of my mom or the renovation in Pataudi or educating Sara and Ibrahim or worrying about Kareena. I am a multitude of personalities and I do have mood swings and do have a calm side, which I love, that has built a home, where I can enjoy a glass of wine at the balcony with jazz playing in the background with a lot of patience and peace. But there is also an edgy, hyper side that is irritable, which drives me at times. My personality is exactly like that of my mother. On a good day, Kareena says that I have the best of both of them, but my darkest fear is that I am sometimes the worst of both of them.
Is there a plan that you have for yourself ahead?
My thing now is just to be disciplined enough to live up to my potential. I want the money to be invested and not blown up. There is a certain class in not buying another watch. I have enough of these material things, but would now like to spend on nice things like education funds for kids. It's a different kind of wealth you want to accumulate. I want to be well off, but I don't think I want things any more. There is a certain elegance in living within a budget even if you are rich. To eat simply, drink simple wine. That balance we were brought up in and I think I am turning back to it.
Talk about your relationship with your partner Dinesh Vijan?
We became friends through our respect for each other's work and our partnership is based on work. Our differences were magnified out of proportion. But let me say that we are healthy and hearty and we are very much looking forward to our next release Happy Ending and look forward to making films together under Illuminati. He wants to make films on his own and he should and that will be under his banner and likewise, there are films that I want to do with other people, for which I will have a separate production, where I will make films without him. This allows us both to do things that we are passionate about. We balance each other in a healthy way. I like the fact that he has an understanding of people and things and the advice he gives you is usually spot on.
Multiplex announce big price hike for biggies to compensate for losses?
8:31 AM
Mehul S Thakkar (MUMBAI MIRROR; December 20, 2013)
The festive season, a slew of hyped releases and recent box office casualties; these are the reasons cited by multiplexes for the announced rise in ticket prices. With the hike, you may end up shelling out upto Rs 900 to watch a film this weekend.
The current quarter has been a disappointing one for the film industry, with big films like
Besharam, Boss, Bullett Raja, Singh Saab The Great and Gori Tere Pyaar Mein failing to hit the bull’s eye. And with these poorly received films, multiplexes registered minimal footfall during the past few months.
But the theatres are hoping that releases like Dhoom 3 and Jai Ho, will turn the tide and they have planned to rake in the moolah through escalated ticket prices.
A top official from a leading multiplex reveals, “Big films have bigger expectations but films like Gori Tere Pyaar Mein failed miserably. We have had a lot of losses but its part of the game. Jai Ho again will be a game changer.”
Nationally the average ticket price will go up by 10-12 per cent, and in some markets like Mumbai, the rise can be as high as 60 per cent.
Cities like Coimbatore, Hyderabad, Delhi, Chandigarh, have controlled markets where the law doesn’t permit a steep price. However, Mumbai is a free market and therefore the difference in the ticket price of a big release and one without any big names is high.
And sources say that tickets of films like Mahabharat 3D, Sholay 3D and Dedh Ishqiya will not cost the ‘premium’ price.
Anand Vishal, head of operations at Fun Republic explains the move saying, “Wouldn’t you have to pay extra if you want to fly last minute? Today, when you have a good season, prices will go up, like in the airline or the hospitality industry. And the last three months have not been good for the film industry. In fact, even Krrish 3 did better in single screens than in multiplexes.”
However, Kamal Gianchandani, president of PVR, says that the bad performance of the last quarter is not the main reason for the hike. He says, “I think that November was good with Krrish 3 and Goliyon Ki Raasleela Ram-leela. Ups and downs are part of this business. Bigger films are always priced higher. It’s an accepted practise and the same was done during the release of Chennai Express.”
As for the eyewatering Rs 900 that IMAX properties will charge for select shows, he explains, “We only have two properties in Mumbai and the technology is expensive. That’s why the price is high.”
Leading distributor Rajesh Thadani weighs in saying “At the end of the day, the content has to be good. With the hike in price, multiplexes can balance out their balance sheet.”
But are people willing to shell out the premium money? Thadani believes, “Those who can, will shell out the money, others will have to watch it later .”
Bullett Raja collects 24.50 cr in 4 days
7:50 AM
Boxofficeindia.Com Trade Network
BULLETT RAJA had a low first weekend as it collected around 21.25 crore nett. The film started slowly and failed to show any growth on Saturday which is a must for a film that does not open.
The business on Sunday was up around 15% from Saturday but the damage had been done. The film has done best in UP and Rajasthan but collections in Delhi city and Mumbai city was well below the mark. Mumbai circuit also underperformed but that was expected as it was a film based on crime in UP which has few few takers in Mumbai just like film on the Mumbai underworld have few takers in the North. The weekend breakdown was as follows.
--------------------------
BULLETT RAJA dropped on Monday as it collected around 3.25 crore nett taking its total to 24.50 crore nett. The film held up best in Delhi/UP with collections around 85-90 lakhs. It was the only circuit to drop less than 50% and collections in Delhi/UP were higher than Mumbai.
The first week should finish in the 31 crore nett range and not likely to add much more. The domination of GOLIYON KI RAASLEELA RAM-LEELA in the Gujarat area has affected Bullet Raja as the former had better collections in Gujarat on Sunday and Monday despite being in its third week.
BULLETT RAJA will probably wrap up in the 35 crore nett region for lifetime collections.
I was very much in control of my temper-Saif Ali Khan
9:55 PM
Saif Ali Khan denies reports of a run-in with the media, says he now follows the policy of quiet withdrawal.
Roshmilla Bhattacharya (MUMBAI MIRROR; November 29, 2013)
This Wednesday, you reportedly vowed never to return to Delhi after the local media at a press conference demanded an apology from you after a four hour delay. You refused saying you were stuck in traffic and walked out. Is that true?
I could never say that. Delhi and Pataudi are in my blood. I was brought up there, I'm deeply connected to the city, my mother lives there. I can understand that the media, fed up of waiting in the sun and the shabby treatment, made their displeasure clear. In India we tend to get a little rowdy at times and this group was screaming. A mini riot had broken out in a Mumbai showroom when we were promoting Cocktail too.
So you're saying your anger was justified?
I wasn't agitated. And when we realised interviews weren't happening, we left.
That's not how the incident has been projected in the media?
I respect the media but since it shapes public opinion, it should be a little careful in its reportage. There's a video online that shows you what happened, check it out.
Last year after you were arrested following a midnight brawl at a posh city restaurant, you had promised to keep your temper in check...
I have. I was very much in control of my temper and quietly walked away from the situation. I've understood that withdrawal is the best policy.
Has the earlier brawl case been resolved?
No, it's still dragging on. If we could sit down and talk, we should be able to sort things out amicably. Tempers were running high that night.
Bullett Raja isnt opening in Pakistan this Friday. Upset?
It's a shame people living there won't be entertained. We have a love-hate relationship with Pakistan, they're still unsure if we're friends or enemies.
Agent Vinod was also not allowed to officially release in Pakistan.
Yes, they thought Pakistanis were being projected as the baddies despite our attempts to balance out things with a General who was pro-peace and Kareena, a Pakistani agent, who helps avert a nuclear disaster. Director Sriram Raghavan believed it was a genuine representation, but they didn't. In this case they've ordered a blanket ban on Indian films.
After Aarakshan you said you'd stick to your yuppie image and commercial films. So what made you accept Bullett Raja?
In Aarakshan I played a downtrodden Dalit, the make-up and look wasn't right. This is an action-packed commercial film. I play a tough guy.
After Agent Vinod you're playing a secret agent again in Kabir Khan's Phantom which was filmed in the Lebanon-Syria border.
Kabir Khan's film will be a much better film than Agent Vinod. Part of the excitement is filming in such volatile locations. I love such movies.
You're learning Kurdish for it?
(Laughs) No, it's a Hindi film.
It's surprising that despite being a Bollywood star, you don't watch Hindi movies...
I like to get away from my job when I'm not shooting. I like travelling abroad anonymously, meeting people, seeing films others make. I've always had eclectic tastes. I want to go back to being the person I was before I became a movie star. (Laughs) There's been no change apart from the fact that I'm more mature now.
Seen Kareena Kapoor's Gori Tere Pyaar Mein?
No, I haven't.
It hasn't lived up to expectations, Kareena must be disappointed?
All actors are passionate about their craft, but a lot of factors determine the fate of a film. It's not the best news in the world, but after a few days you pick up the pieces and move on.
When will we see you on screen together again?
Kareena's doing a cameo in my home production Happy Ending. After that I'm don't know when we'll work next. I'm sure the multiplex crowd will love the film and equally sure it will have no chance in the single screens unless Govinda, part of the supporting cast, manages to pull people in.
It's a happy ending for you too in your personal life, finally?
Happy endings happen only in films, in real life an ending means death and it's rarely happy. There can be happy moments and with Kareena I have plenty of those. I love being an actor, but I don't enjoy being a star. You can't go for a walk without bodyguards. I don't mean to sound ungrateful, but this lack of privacy can be chaffing.
So you bury yourself in books. You're quite the reader, aren't you? What are you reading right now?
Salman Rushdie's epic saga Enchantress of Florence and Miguel de Cervantes' Don Quixote, one of our oldest and greatest novels.
Could either be made into a Hindi movie?
Not Rushdie, it has too many descriptions, and a book is the best expression for it. Attempts have been made to turn Don Quixote into plays and movies. But I don't think you can capture its essence onscreen.
This Wednesday, you reportedly vowed never to return to Delhi after the local media at a press conference demanded an apology from you after a four hour delay. You refused saying you were stuck in traffic and walked out. Is that true?
I could never say that. Delhi and Pataudi are in my blood. I was brought up there, I'm deeply connected to the city, my mother lives there. I can understand that the media, fed up of waiting in the sun and the shabby treatment, made their displeasure clear. In India we tend to get a little rowdy at times and this group was screaming. A mini riot had broken out in a Mumbai showroom when we were promoting Cocktail too.
So you're saying your anger was justified?
I wasn't agitated. And when we realised interviews weren't happening, we left.
That's not how the incident has been projected in the media?
I respect the media but since it shapes public opinion, it should be a little careful in its reportage. There's a video online that shows you what happened, check it out.
Last year after you were arrested following a midnight brawl at a posh city restaurant, you had promised to keep your temper in check...
I have. I was very much in control of my temper and quietly walked away from the situation. I've understood that withdrawal is the best policy.
Has the earlier brawl case been resolved?
No, it's still dragging on. If we could sit down and talk, we should be able to sort things out amicably. Tempers were running high that night.
Bullett Raja isnt opening in Pakistan this Friday. Upset?
It's a shame people living there won't be entertained. We have a love-hate relationship with Pakistan, they're still unsure if we're friends or enemies.
Agent Vinod was also not allowed to officially release in Pakistan.
Yes, they thought Pakistanis were being projected as the baddies despite our attempts to balance out things with a General who was pro-peace and Kareena, a Pakistani agent, who helps avert a nuclear disaster. Director Sriram Raghavan believed it was a genuine representation, but they didn't. In this case they've ordered a blanket ban on Indian films.
After Aarakshan you said you'd stick to your yuppie image and commercial films. So what made you accept Bullett Raja?
In Aarakshan I played a downtrodden Dalit, the make-up and look wasn't right. This is an action-packed commercial film. I play a tough guy.
After Agent Vinod you're playing a secret agent again in Kabir Khan's Phantom which was filmed in the Lebanon-Syria border.
Kabir Khan's film will be a much better film than Agent Vinod. Part of the excitement is filming in such volatile locations. I love such movies.
You're learning Kurdish for it?
(Laughs) No, it's a Hindi film.
It's surprising that despite being a Bollywood star, you don't watch Hindi movies...
I like to get away from my job when I'm not shooting. I like travelling abroad anonymously, meeting people, seeing films others make. I've always had eclectic tastes. I want to go back to being the person I was before I became a movie star. (Laughs) There's been no change apart from the fact that I'm more mature now.
Seen Kareena Kapoor's Gori Tere Pyaar Mein?
No, I haven't.
It hasn't lived up to expectations, Kareena must be disappointed?
All actors are passionate about their craft, but a lot of factors determine the fate of a film. It's not the best news in the world, but after a few days you pick up the pieces and move on.
When will we see you on screen together again?
Kareena's doing a cameo in my home production Happy Ending. After that I'm don't know when we'll work next. I'm sure the multiplex crowd will love the film and equally sure it will have no chance in the single screens unless Govinda, part of the supporting cast, manages to pull people in.
It's a happy ending for you too in your personal life, finally?
Happy endings happen only in films, in real life an ending means death and it's rarely happy. There can be happy moments and with Kareena I have plenty of those. I love being an actor, but I don't enjoy being a star. You can't go for a walk without bodyguards. I don't mean to sound ungrateful, but this lack of privacy can be chaffing.
So you bury yourself in books. You're quite the reader, aren't you? What are you reading right now?
Salman Rushdie's epic saga Enchantress of Florence and Miguel de Cervantes' Don Quixote, one of our oldest and greatest novels.
Could either be made into a Hindi movie?
Not Rushdie, it has too many descriptions, and a book is the best expression for it. Attempts have been made to turn Don Quixote into plays and movies. But I don't think you can capture its essence onscreen.
Shah Rukh mein jitna dilli panna dikhta hai, kisi mein nahi dikhta-Tigmanshu Dhulia
9:47 PM
Priya Gupta (BOMBAY TIMES; November 28, 2013)
Tigmanshu Dhulia, 46, is an actor, writer and director, who is a proud alumnus of the National School of Drama (NSD). He considers himself an emotional fool and gullible, but has tremendous faith in humanity. He’s most attached to his daughter, but relies emotionally on himself. In a highly competitive industry, he considers only Irrfan his friend. He is a leftist, who thrives on launching talent. Ahead of his upcoming action thriller, Bullett Raja, he talks to Bombay Times about the unsatisfied Irrfan, what impressed him about Saif Ali Khan and why he remembers his father everyday. Excerpts:
Why did you think of joining the National School of Drama? I am a Brahmin born and brought up in Allahabad. Allahabad at that time was an education centre and culturally very active, be it in writing, theatre, music (including Western), politics or literature. Many big Hindi writers, be it Harivansh Rai Bachchan, Mahadevi Verma, Sumitranandan Pant and many more, are from there. I had an English music band called Paranoids, where I was the lead singer. I also did a lot of theatre there, as both my older brothers were into theatre. My father was the judge of Allahabad High Court and my mother, a Sanskrit professor. I had a very liberal kind of atmosphere in the house. My parents were both film buffs and would always discuss politics at the dining table. I too got involved in a political leftist group and still consider myself a leftist. While I just scraped through my studies till Class X, post that, I flourished when I took up Arts. I loved History. And then, a big change happened. A train called Prayagraj Express was launched that connected Allahabad to Delhi in an overnight journey. It changed Allahabad. Students started studying in Delhi University and young lawyers moved to practise in the Delhi courts. The cream of Allahabad had shifted. In my first year of college, my father had a heart attack and died. My mother had to support the family and my oldest brother joined the navy. I travelled out of UP for the first time in my life when I was 19, to go to Delhi to check out NSD. Coming from Allahabad, I fell in love with the liberal atmosphere there — the late-night discussions the students had and the fact that girls and boys were hanging out together having cigarettes and tea — and I decided I wanted to come here. I was selected in the first attempt on merit. Of course, my singing helped and I remember singing Annie’s Song (You Fill Up My Senses) in my viva.
Talk about your father? His death affected me very badly as he loved me the most. I saw all the best films with him. He would take me to watch The Godfather and All The President’s Men, when I was in just Class VIII even though at that age I did not understand them. But he would explain them to me. He liked the fact that I could sing well. All those conversations over the dinner table he had made me a leftist and compassionate.
How did you meet your wife? My wife Tulika and I had been dating since we were in Class VIII. She used to live opposite my house in Allahabad. Her father, coincidentally, got transferred to Noida when I was in NSD, and wanted to marry Tulika off. I was just 22 and had not even completed my NSD course when she ran away from home and we got married. She is now a homemaker and is far more aesthetically evolved than me and did the costumes for Sahib Biwi Aur Gangster.
How did you sustain yourself post marriage? I passed out of NSD, but, at that time, films did not happen out of Delhi. I was lucky that the month I passed out, Ketan Mehta was making Sardar Patel for which he hired NSD’s design teacher Robin Das as the art director. I was terrible in art and could not even draw a straight line. But since I was interested in history, I was taken in to do the research. For me, doing a film was a big thing as before that, I had not even seen a film camera. Robin Das was not very well-organised, so we had to leave the film after the first schedule. I can never forget, how Ketan Mehta, being such a big director, supported me. He is a great guy. I had just got married and had really worked hard for the film. I must have slept six hours in 16 days. Ketan saw it and knew I could not be blamed because my boss was disorganised. We were shooting at Anand and they were giving money and I was happy that I would get some money. But my boss Robin told the accountant, ‘Don’t give him any money. We will go to Delhi and settle it there.’ I started crying and went to Ketan. He held my hand, scolded everybody, got my reservation done and I came back with the money to my wife in Delhi. That was the first time I had earned money.
How did you become a filmmaker? Being from NSD, I knew theatre artistes from across the country and was taken as the casting director for Shekhar Kapur’s Bandit Queen. While casting, I also started assisting him and he advised me to move to Mumbai. My oldest brother Himanshu, who is like a father to me was at that time based in Mumbai, and my wife and I moved in with him. I started directing TV shows and had written the script of Haasil. I went to almost every producer, but no one was willing to produce it. The climax was to be shot at the Kumbh Mela that was coming to an end, but I still had no producer. Amita Sehgal, who knew my script, got some money from her home, we took the actors and took the shot in the mela and edited a two-minute film that we showed to producers. Vijay Jindal liked it and decided to produce it and I became a filmmaker. After Haasil, I went through the worst phase of my life between 2004 and 2009, when I would start films, but they would all get shelved. While I always had a temper, there were three good things that happened. One, I never became bitter, two, my wife never lost faith in me and three, I started believing in astrology. I was going through rahu ki mahadasha at that time. Now guru ki mahadasha chal rahi hai for the next 16 years. So I know these years will be my best, though, of course, I have seen a lot and I’m insecure about failure even more now.
You have introduced a lot of new talent. Being a leftist, at its core, is about equality. In a sense, launching new talent is also that. You feel you are a part of somebody else’s success. I also feel very happy with Irrfan’s and Shah Rukh’s success. Shah Rukh mein jitna dilli panna dikhta hai, kisi mein nahi dikhta. I have worked with him in Dil Se as I was the dialogue writer. Even that time he was a star. But I can't tell you how humble he was. While shooting with Mani Ratnam in Ladakh, there was no vanity van and we were all travelling in a bus. During lunch time, Shah Rukh would sleep in the isle. We would all be jumping over him to pass, but he would never complain. I like his success.
Let’s talk about Irrfan who has been a part of almost all your films? He was two years senior to me at NSD. He was the black sheep of his class and was not considered a good actor. He had no friends except his wife Sudipta, who was his batchmate, and they were a couple from that time. Irrfan chose to stay in the worst room in the hostel in one corner as he was such an introvert. It is only while acting in his diploma production in the third year, when I saw his power as an actor. Even now, he is always hungry for good work and there is no better actor than him in the world. He is like a brother to me. He is intense, brooding, irritating and never satisfied. How his wife stays with him only she knows. Till date, I always have to prove to him that I am a talented director even though he has done Haaasil, Charas, Saheb Biwi Aur Gangster and Paan Singh Tomar with me. We are both insecure about our friendship with each other. And I feel possessive if he works with another director. He is my only friend in the industry and I can discuss my insecurities with him, both personal and professional. He knows everything about me. As an actor, you need to save yourself from conditioning and need to be a little careless, reckless and uninhibited, otherwise you become boring. Irrfan is a very outdoors person. He loves flying kites. If he is angry with me and I tell him, ‘Let’s go and fly a kite,’ he will be kicked. His life’s biggest high is flying a kite. We both love going to the jungle. He loves to cook and he makes the best yakhani (Kashmiri pulao). He was a part of Bullett Raja too, but due to another prior commitment, could not do the film.
Tell us something you observed about Saif while shooting Bullett Raja? Saif would always read a book between shots. We have seen enough actors pretending to read as they want to show that they are intellectually evolved. But Saif would not only read, he would also write, so I asked him what he was writing. He said, ‘I am trying to write down words whose meanings I don’t understand, so that when I go back I can look up the meanings of these words.’ Saif's English is really good and yet he was trying to improve his vocabulary. It really impressed me.
Your father died before seeing your success. Do you miss him in your life? I do his puja everyday. Whenever I achieve something in my life, I remember him the most. Whatever I am or the fact that I became a filmmaker is only because of him. When I did my first play in Allahabad, I was in Class XI and had just started smoking. After the play, I had lit up a cigarette when I saw my father coming in to congratulate me. Seeing me smoke, he just turned back. And I saw it. I feel so sad that he was coming to congratulate me and just because I was having a cigarette he wasn’t able to. That’s the only time he could’ve congratulated me in my life — he died before seeing my achievement.
Tigmanshu Dhulia, 46, is an actor, writer and director, who is a proud alumnus of the National School of Drama (NSD). He considers himself an emotional fool and gullible, but has tremendous faith in humanity. He’s most attached to his daughter, but relies emotionally on himself. In a highly competitive industry, he considers only Irrfan his friend. He is a leftist, who thrives on launching talent. Ahead of his upcoming action thriller, Bullett Raja, he talks to Bombay Times about the unsatisfied Irrfan, what impressed him about Saif Ali Khan and why he remembers his father everyday. Excerpts:
Why did you think of joining the National School of Drama? I am a Brahmin born and brought up in Allahabad. Allahabad at that time was an education centre and culturally very active, be it in writing, theatre, music (including Western), politics or literature. Many big Hindi writers, be it Harivansh Rai Bachchan, Mahadevi Verma, Sumitranandan Pant and many more, are from there. I had an English music band called Paranoids, where I was the lead singer. I also did a lot of theatre there, as both my older brothers were into theatre. My father was the judge of Allahabad High Court and my mother, a Sanskrit professor. I had a very liberal kind of atmosphere in the house. My parents were both film buffs and would always discuss politics at the dining table. I too got involved in a political leftist group and still consider myself a leftist. While I just scraped through my studies till Class X, post that, I flourished when I took up Arts. I loved History. And then, a big change happened. A train called Prayagraj Express was launched that connected Allahabad to Delhi in an overnight journey. It changed Allahabad. Students started studying in Delhi University and young lawyers moved to practise in the Delhi courts. The cream of Allahabad had shifted. In my first year of college, my father had a heart attack and died. My mother had to support the family and my oldest brother joined the navy. I travelled out of UP for the first time in my life when I was 19, to go to Delhi to check out NSD. Coming from Allahabad, I fell in love with the liberal atmosphere there — the late-night discussions the students had and the fact that girls and boys were hanging out together having cigarettes and tea — and I decided I wanted to come here. I was selected in the first attempt on merit. Of course, my singing helped and I remember singing Annie’s Song (You Fill Up My Senses) in my viva.
Talk about your father? His death affected me very badly as he loved me the most. I saw all the best films with him. He would take me to watch The Godfather and All The President’s Men, when I was in just Class VIII even though at that age I did not understand them. But he would explain them to me. He liked the fact that I could sing well. All those conversations over the dinner table he had made me a leftist and compassionate.
How did you meet your wife? My wife Tulika and I had been dating since we were in Class VIII. She used to live opposite my house in Allahabad. Her father, coincidentally, got transferred to Noida when I was in NSD, and wanted to marry Tulika off. I was just 22 and had not even completed my NSD course when she ran away from home and we got married. She is now a homemaker and is far more aesthetically evolved than me and did the costumes for Sahib Biwi Aur Gangster.
How did you sustain yourself post marriage? I passed out of NSD, but, at that time, films did not happen out of Delhi. I was lucky that the month I passed out, Ketan Mehta was making Sardar Patel for which he hired NSD’s design teacher Robin Das as the art director. I was terrible in art and could not even draw a straight line. But since I was interested in history, I was taken in to do the research. For me, doing a film was a big thing as before that, I had not even seen a film camera. Robin Das was not very well-organised, so we had to leave the film after the first schedule. I can never forget, how Ketan Mehta, being such a big director, supported me. He is a great guy. I had just got married and had really worked hard for the film. I must have slept six hours in 16 days. Ketan saw it and knew I could not be blamed because my boss was disorganised. We were shooting at Anand and they were giving money and I was happy that I would get some money. But my boss Robin told the accountant, ‘Don’t give him any money. We will go to Delhi and settle it there.’ I started crying and went to Ketan. He held my hand, scolded everybody, got my reservation done and I came back with the money to my wife in Delhi. That was the first time I had earned money.
How did you become a filmmaker? Being from NSD, I knew theatre artistes from across the country and was taken as the casting director for Shekhar Kapur’s Bandit Queen. While casting, I also started assisting him and he advised me to move to Mumbai. My oldest brother Himanshu, who is like a father to me was at that time based in Mumbai, and my wife and I moved in with him. I started directing TV shows and had written the script of Haasil. I went to almost every producer, but no one was willing to produce it. The climax was to be shot at the Kumbh Mela that was coming to an end, but I still had no producer. Amita Sehgal, who knew my script, got some money from her home, we took the actors and took the shot in the mela and edited a two-minute film that we showed to producers. Vijay Jindal liked it and decided to produce it and I became a filmmaker. After Haasil, I went through the worst phase of my life between 2004 and 2009, when I would start films, but they would all get shelved. While I always had a temper, there were three good things that happened. One, I never became bitter, two, my wife never lost faith in me and three, I started believing in astrology. I was going through rahu ki mahadasha at that time. Now guru ki mahadasha chal rahi hai for the next 16 years. So I know these years will be my best, though, of course, I have seen a lot and I’m insecure about failure even more now.
You have introduced a lot of new talent. Being a leftist, at its core, is about equality. In a sense, launching new talent is also that. You feel you are a part of somebody else’s success. I also feel very happy with Irrfan’s and Shah Rukh’s success. Shah Rukh mein jitna dilli panna dikhta hai, kisi mein nahi dikhta. I have worked with him in Dil Se as I was the dialogue writer. Even that time he was a star. But I can't tell you how humble he was. While shooting with Mani Ratnam in Ladakh, there was no vanity van and we were all travelling in a bus. During lunch time, Shah Rukh would sleep in the isle. We would all be jumping over him to pass, but he would never complain. I like his success.
Let’s talk about Irrfan who has been a part of almost all your films? He was two years senior to me at NSD. He was the black sheep of his class and was not considered a good actor. He had no friends except his wife Sudipta, who was his batchmate, and they were a couple from that time. Irrfan chose to stay in the worst room in the hostel in one corner as he was such an introvert. It is only while acting in his diploma production in the third year, when I saw his power as an actor. Even now, he is always hungry for good work and there is no better actor than him in the world. He is like a brother to me. He is intense, brooding, irritating and never satisfied. How his wife stays with him only she knows. Till date, I always have to prove to him that I am a talented director even though he has done Haaasil, Charas, Saheb Biwi Aur Gangster and Paan Singh Tomar with me. We are both insecure about our friendship with each other. And I feel possessive if he works with another director. He is my only friend in the industry and I can discuss my insecurities with him, both personal and professional. He knows everything about me. As an actor, you need to save yourself from conditioning and need to be a little careless, reckless and uninhibited, otherwise you become boring. Irrfan is a very outdoors person. He loves flying kites. If he is angry with me and I tell him, ‘Let’s go and fly a kite,’ he will be kicked. His life’s biggest high is flying a kite. We both love going to the jungle. He loves to cook and he makes the best yakhani (Kashmiri pulao). He was a part of Bullett Raja too, but due to another prior commitment, could not do the film.
Tell us something you observed about Saif while shooting Bullett Raja? Saif would always read a book between shots. We have seen enough actors pretending to read as they want to show that they are intellectually evolved. But Saif would not only read, he would also write, so I asked him what he was writing. He said, ‘I am trying to write down words whose meanings I don’t understand, so that when I go back I can look up the meanings of these words.’ Saif's English is really good and yet he was trying to improve his vocabulary. It really impressed me.
Your father died before seeing your success. Do you miss him in your life? I do his puja everyday. Whenever I achieve something in my life, I remember him the most. Whatever I am or the fact that I became a filmmaker is only because of him. When I did my first play in Allahabad, I was in Class XI and had just started smoking. After the play, I had lit up a cigarette when I saw my father coming in to congratulate me. Seeing me smoke, he just turned back. And I saw it. I feel so sad that he was coming to congratulate me and just because I was having a cigarette he wasn’t able to. That’s the only time he could’ve congratulated me in my life — he died before seeing my achievement.
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