It had been actor-writer Sumeet Vyas’ long-time dream to start directing. The opportunity presented itself when he met writer Khyati Anand Puthran at their kids’ playgroup. Their collaboration, Raat Jawaan Hai, is a story about three best friends who are new to parenthood. To Vyas, the Barun Sobti, Priya Bapat and Anjali Anand-starrer is about the smaller things in life. In conversation with mid-day, the first-time director talks about the Sony LIV show, his own experiences with parenthood, the interesting casting and more.

Edited excerpt from the interview.

The show’s writer is Khyati Anand [Puthran]. It was a coincidence that our kids were friends, and played together at a nearby park. In March 2022, she told me she was writing a script about early parenthood and friendship. She asked me whether I’d like to direct it. I read the script and liked it. She had written two episodes, and we began working together from there. Moreover, we were both going through the phase, so we could bring in our personal experiences. As we developed the story, the plot became more about friendship. We realized that friendship is the first victim of [parenthood] as one is not able to give their friends the same time as they did before.

Of course! If two partners are actively involved in parenting, then it becomes difficult. For example, my wife [Ekta Kaul] has taken a break from work. She is taking care of the child, so how can I go off to party somewhere? I finish my work and go home. I have very little time to spend with Ved, so I’d rather do that. Male or female, whichever parent decides to stay back and take care of the child, it affects them the most. Their social life is as good as non-existent.

The one thing I’ve understood about parenting is that it is very similar yet different. Every person’s right and wrong is different. So when they become parents, their rules differ. You cannot generalize parenting because we’ve all grown up in varied circumstances and economic backgrounds.

Avinash [Sobti’s character] is around friends, so he doesn’t have to filter what he says. He has a child and now, he wants to have a dog. When Suman [Bapat] reprimands him, asking whether it’s the same, Radhika [Anand] says that the animal doesn’t have the responsibility to grow up, take care of his elders. From the time kids are born, they are told they have to come first in class, learn tennis, become a scientist and what not! [laughs].

To each his own. I don’t think any aspect of life completes you. I always wanted to have a child, and I have friends who didn’t; either option is fine. No matter what decision you take, the grass is always greener on the other side. If your kid is crying in the night, while your friends are chilling, you may miss it. On the other hand, they may feel that you are lucky to get to play with a child. In India, we shouldn’t be worried about this. We have an abundant population [laughs].

The first actor we approached was Priya, she is also Khyati’s friend. When Khyati was writing the part, she had Priya in mind. When we approached her, she was more than excited to be a part of it. She is exceptional in the show. Anjali was a complete surprise. I had never seen her previous work. Sony recommended that we meet her. The ease with which she carries herself is quite something. Barun’s casting was out of the blue. We were struggling to find Avinash. I saw Kohrra [2023] around that time, called him and suggested the role. He is a desi guy, and loads of fun. 

Not with this show. From the onset, I always wanted to direct it. There is a certain pace that I wanted for it. Like when we watched Malgudi Days, [even though] the episodes were all 30-minute-long. I wanted to narrate a story with tasalli. If someone cannot watch the show for 30 minutes also, and he has to watch five reels, then he may not watch it. I didn’t want to compromise on the temperament. If people can relate to the story, they will watch it.

 

No, I thought I would. But from the second or third day, I found my groove. We shot for close to 40-45 days at a stretch. I didn’t feel I had to prove a point to anyone. I wanted to tell the story as honestly as I could. The story demands a certain pace because it is about smaller things [in life], there is no melodrama to it. One reference point I had is of a film that I had acted in many years ago, English Vinglish [2012]. There is innocence in this narrative, which is why it connects with a larger audience.

Shilpa Rao first sang for the Hindi film music industry over 17 years ago and since then, has had hits like Khuda Jaane, Kalank, Subhanallah, Bulleya, Ghungroo, Tere Hawaale, Chaleya and Besharam Rang among others to her credit.

In a conversation with us, this Grammy-nominated singer talks about creating a space for herself in the music industry despite her voice being termed unconventional at the beginning of her career. Excerpts:

Throughout my childhood, people said I couldn’t sing, and I believed them. Back then, I was learning to sing because I liked music. I never thought I’d be a musician. I wasn’t very goal-oriented, in that sense. Even now, I am learning music because it brings me happiness. Also, today, I don’t think much about what people say. I just believe in working hard. People can say whatever they want, but we must filter out the comments that are not relevant. If someone like Rashid Khan sahab would say something to me, I would listen and see value in it, but not from everyone. It's important to use your own mind, pick things that you're passionate about, work hard on that and listen to people who are wiser than you. Like, if Pritam tells me something, I will think hard.

I think it helped me when people said I couldn’t sing (laughs). On a serious note, my parents instilled in me the idea of having my own voice and opinions, which shielded me from being too affected by others’ opinions. My dad always believed in learning music because it enriches your life, and I still hold onto that outlook. My voice was nurtured by my parents, who were big fans of artistes like Begum Akhtar, Prabha Atre ji, and Parween Sultana ji. I was fortunate to have seen some of them perform live as a child. Listening to Farida Khanum was also common in our house. My parents instilled in me the idea of having my own voice and opinions, which shielded me from being too affected by others' opinions on my singing abilities. My dad always believed in learning music because it enriches your life, and I still hold onto that outlook. Attaching happiness, love and good energy to my songs translates to the audience, and that’s important to me.

For me, it’s about approaching each studio session as if it were my first. Every recording is a fresh opportunity to connect with music, like a child in a chocolate factory exploring new flavours. For instance, when I was first told about Kaavaalaa (Jailer, 2023), I wondered why Anirudh (composer Anirudh Ravichander) chose me for it, as it was unlike anything I had sung before. However, trusting the composer and director’s vision is crucial. With Besharam Rang (Pathaan, 2022), Siddharth Anand was confident about me singing it. That meant a lot to me. People have told me how much they have loved the song. Sometimes, it’s not just about singing for a movie, it’s also about the emotional attachment people form with the song. So, having faith in what you do is essential.

Yes, always. Artistes who have been in the industry for a long time, whether it’s Pritam, Vishal-Shekhar or Mithoon, are always open to inputs from singers. They’re willing to listen to ideas and suggestions because they understand that it can only enhance the work. I enjoy collaborating with new people as witnessing their spontaneity and energy in the studio is amazing. There’s a unique dynamic that emerges when you bounce off ideas and energy, and often, something magical happens when they listen to your input.

Every song requires dedication and hard work. But if I had to pick, Mudhi Mudhi Ittefaq Se (Paa, 2009) was particularly challenging. I worked with Ilaiyaraaja Sir for that song, and he is known for his discipline and perfection. Impressing him wasn’t easy. Gustakh Dil (English Vinglish, 2012) was also tough because it conveyed complex emotions. Bulleya (Ae Dil Hai Mushkil, 2016), too, posed its own challenges, depicting a unique relationship dynamic.

I’d say "Manmarziyan" was definitely one of those songs. It felt tailor-made for me, and Amitabh (Bhattacharya) and I wrapped it up in just 30 minutes. It's quite rare for things to come together so seamlessly like that. Initially, it wasn't even called Manmarziyan, but as soon as I sang the first line, Amitabh immediately named it. Another quick recording was Chaleya. We finished the recording in just 20 minutes because we were both (composer Anirudh Ravichander) present, making decisions swiftly and bouncing off each other's energies. It really does make a difference when you have multiple perspectives in the room, including the composer, lyricist, and sometimes the director. When you're alone, it's challenging to navigate all those possibilities.

Tere Hawaale is an ideal duet. The film is not just about one character; it's about the parallel lives of Laal Singh and Rupa, intersecting and drifting apart. The song reflects this journey, where they finally acknowledge their need to be together. It took a lot of time to perfect. We started working on it before COVID in 2019 and experimented with different ways of singing the two lines, and then the final recordings were done. Aamir Khan sir felt that the last part should be from Rupa’s (Kareena Kapoor Khan’s character in the film) perspective to conclude the song properly. It was truly a collaborative effort.

With her recent acting debut, Khushi Kapoor is the talk of the town. As we reach her Mumbai home for an exclusive Christmas shoot, the actor welcomes us warmly. Dressed immaculately, the 23-year-old manages to take time out in-between the shots to play with her pets, Panda and Mochi. Excerpts from the chat:

I link Christmas to a lot of food! And then spending time with my family and friends. We are putting up a tree for the first time in many years.

When we were kids, we would do that. Right now, everyone is busy — me, Janhvi (Kapoor; sister), Anshula (Kapoor; sister), we are all working. It is hard to coordinate everyone’s dates for a vacation.

I hope to keep working, which is my main goal right now. I am content with how things are going. I just want to keep working and growing. That’s my wish for 2024.

A lunch or dinner with friends. This time too, that’s my plan for the day — baking some cookies at home and being in fun Christmas pyjamas, as I am a homebody.

I am feeling good. I am glad it is finally out for people to watch. I have worked on it for a very long time, and put in efforts. I don’t seek out reviews, I saw a few of them. I try not to get into reading every single thing, because there are a lot of people ready to hate on it for various other reasons. For my own sanity, I wanted to stay away from that.

Actress Navika Kotia, who was last seen in Yeh Rishta Kya Kehlataa Hai, essaying the role of Maya, had to quit the TV show owing to health issues in September 2022. However, after a short break, the actress is set to return with a new show titled Kyunki... Saas Maa, Bahu Beti Hoti Hai, where she will play the lead role.

PATHAAN emerged the highest grossing Hindi film in original format last week but there was a little debate within the industry as DANGAL had grossed more if you include the Far East and BAJRANGI BHAIJAAN is also ahead that way. But these numbers are all formats and basically when you do this, it just changes the history of Hindi cinema the way everyone knows it.

The overseas markets had this Russian factor for around forty years and the last decade saw the Chinese factor and both are very similar in almost everything. The difference being that Russia had far more Hindi films released though business could be extreme from crazy levels to practically nothing. Both markets generally have Hindi films on an outright basis as makers see it as extra money and give the film and then the distributor be it Russian or Chinese releases the film on his account. The cost gets higher if the film breaks out but so do the profits.

In Russia, the films was dubbed or subtitled and even cut to suit the needs of the market and it was a different case for different areas. If the film was dubbed, the songs were still left in original Hindi language and this was for all films though a song here there would be cut. It has been the same case in China though here reports are that songs are edited/cut especially if they don't take story forward.

The Russian story was a few prints released which meant very limited revenue but a film could break out into hundreds of prints with huge grosses (though not as high as these $50m, $75m, $100m numbers that go around). Its the same with China, there may be less releases but its about a break out. A difference with Russia is that in Russia, most major Hindi films managed a release

China, meanwhile, is still picky and distributors only pick films which they feel have a chance. PATHAAN will not be one them as it shows the INDIAN as a HERO and the Chinese will not take to that. The Russians were kinder that way as SEETA AUR GEETA, JUGNU, BAROOD and DISCO DANCER were huge but many historic blockbuster films like MOTHER INDIA, MUGHAL-E-AZAM, GANGA JUMNA, MERA GAON MERA DESH, MUQADDAR KA SIKANDAR and KRANTI were debacles there. Even the biggest of them all, SHOLAY, had only decent footfalls in Russia.

Simply put, PATHAAN has moved the benchmarks in Overseas to a different level but if you go by the Far East story then it has not as other films have already grossed more with their various formats. Just like HUM AAPKE HAIN KOUN and DILWALE DULHANIA LE JAYENGE opened up the overseas market in the 90's but if you go by the Russian factor then then many movies had already done higher business decades back.

The films that were released in Russia and then lately Far East are not the same films which were released in India that is why PATHAAN is the biggest Hindi worldwide grosser in its original format. Then taking all formats it can be said that DANGAL is bigger than PATHAAN worldwide, SECRET SUPERSTAR is bigger than SANJU, DISCO DANCER is bigger than KABHI KHUSHI KABHIE GHAM and MAMTA is bigger than MUGHAL-E-AZAM.

The original format of the film is most important and you cant mix up with other versions and then compare. Its like having a bag of Apples on one side and a bag of Apples and Oranges on the other but saying its the same thing. There will be people out there who do but then there are a lot of people who are a bit empty upstairs also.

When BAAHUBALI 2: THE CONCLUSION released and it was put above DANGAL on the site it was asked why it went above DANGAL as Hollywood does not do this but that is because there eventually for the top films, its a level playing field as most will will go to all the major markets. On a lighter note they also know that a edited/subtitled /dubbed LOLITA (1997) is not going to topple their greats be it GONE WITH THE WIND, TITANIC, AVATAR or ET. This is not to say the historic Hindi grossers in Russia and China are LOLITA's (This film is one of the biggest box office disasters in Hollywood if not the biggest).

Now, ENGLISH VINGLISH will release in China and it will do some business as otherwise the local distributor would not have taken it. But if it somehow, it goes on to do $100 million or more, it will NOT become bigger than PATHAAN as in original format you just cant compare the films.

Sridevi, who took a break from films after Judaai (1997), made a solid comeback with Gauri Shinde’s English Vinglish in 2012. Sridevi’s performance won her appreciation from the critics as well as the audience. The film, indeed, is quite close to the hearts of people associated with it and fans of the late actress. Recently, the film clocked in 10 years.

While many movie buffs love to revisit the film, ask the director if ever she would think of making a sequel, maybe by taking the story forward with a fresh protagonist, and director Gauri Shinde says, “I don’t think this film should be touched. We (Sridevi and Gauri) never felt we should try and do anything with it ever. If you make something that has touched so many people’s hearts, you should never try to milk it and exploit that love. That’s where we go wrong. The fact that people want more of it means you’ve got the love already. You don’t have to satiate that need by making another version of it, as that’s when the comparisons follow.”

Gauri further adds that while there will be no attempt to make a sequel, the team has discussed a sequel just among them. She shares, “This has been going on for a while. Actors from the film have discussed how we could take the story ahead, but that’s only because everybody loved each other and looked forward to reuniting just to spend more time with each other.”

When the film turned 10, Gauri also announced that the team would be auctioning the sarees which Sridevi wore in it. Ditching her glamorous avatar, the actress was seen in beautiful sarees as a mother on screen. Back then, her costumes became a talking point.

Speaking about what made these sarees so special for her and Sridevi, Gauri says, “The sarees were memorabilia from the film that I was attached to. Sri loved sarees in general, and especially these ones. She was so comfortable in them. From the mulmul ones, to the one she wore in the Navrai Majhi song or during that wedding sequence in the film, she loved each one of them. In fact, there was a time when we thought of doing a fashion show-cum-auction with Sri for these sarees, but unfortunately, that couldn’t happen. Now, the idea is that those who love these saris can buy them, and the proceeds will go towards young women’s education.”

Sumeet Vyas played the role of Sridevi’s classmate in the English speaking course and says he holds English Vinglish close to his heart for a variety of reasons. “Some projects come to you at a certain stage in life, and they make you change yourself. This was that for me, I have only fond memories, no bad ones,” he shares.

It was the 39-year-old’s first big project at that point in his career. “It was the first time I worked in a fully commercial film setup. Thankfully for me, I was working with Gauri Shinde, R Balki was the producer. They were such grounded people, and Sridevi too. My impression of the film industry hence was that, ki sab log iss industry mein aise hi hote hain. But of course, later I met a bunch of a***oles (laughs). Since then, I have been seeking that kind of set-up,” adds Vyas.

Majority of the film was shot in New York, and for the actor, it was his first trip to United States. “It was also my first time shooting abroad. I had so much down time during the shoot, we would only shoot on weekends. So Monday to Thursday we were free, Friday to Sunday we would shoot. It was sort of like a paid vacation,” he says.

For actor Adil Hussain the impact of watching Sridevi in Sadma (1983) as a viewer was such that he could not eat after it ended and was left depressed. He reveals that he was in awe of Sridevi while shooting for English Vinglish (2012) with the late actor, where he played her husband. When Hussain shared his thoughts with her about Sadma, he says she had tears in her eyes.

“English Vinglish is one of the pillars of my work in the film industry, that established me in the hearts of the Indian masses. (Director) Gauri Shinde made the film from her heart. Also Sridevi’s contribution to the role, the film, made it what it was. It’s rare that all characters in a film get to shine. Often, it’s about the hero or heroine,” he shares.

For Hussain, one scene will particularly be etched in his memory - the climax, where Sridevi’s character, Shashi, delivers a monologue about the ridicule she faced all her life courtesy her husband and children. “We were shooting in New York, and everyone was wearing jackets because it was cold. But Sridevi was shivering as she couldn’t and would deliver the scene, and immediately be covered the moment cut was said. I felt so bad for her,” he rues.

His character, though not the antagonist, does ridicule his wife for her poor English skills. He says the audiences loved it, “because we all grew up in a male chauvinistic patriarchal house and they could immediately recognize that this character could be their husband or brother.”

Gauri Shinde’s directorial debut English Vinglish (2012) was a raging success, commercially and critically. A film that marked late Sridevi’s comeback, its impact was such that schools were taking students to theatres to watch it, women found the inspiration to start their own business. While the filmmaker doesn’t remember much of this, 10 years later, the obstacles she faced to make the film remain fresh in her mind.

“My decision to make my film with a female lead met with a lot of resistance. It was about a middle-aged woman wearing a saree. These were odds nobody would want to dive into. There was no violence, no sex, nothing that would set the ball rolling very easily. We went through hell,” the filmmaker tells us on a call from London.

The film’s story revolved around a housewife, played by Sridevi, who can’t speak English properly and is ridiculed by her husband and kids for the same. Her journey of coming into her own forms the rest of the plot, and this is something producers wanted to alter.

“They wanted a superstar as her husband. Then, they said we should not shoot in New York. They wanted me to compromise, they wanted Sridevi to dance because she is Sridevi. They thought she should do an item song. I said I would rather put the film aside and not make it. Then, Balki (R Balki, filmmaker-husband) decided we should produce it ourselves, and that’s how our production house was formed,” says the 48-year-old.

The inspiration behind the lead character, she says, is her mother. The latter ran a spices business, and that’s how the maker chalked out the character of a woman who managed a sweets business. Shinde recalls how her mother would often say that if she knew how to speak English well, her business would have flourished. “English is almost like a deciding factor in our country. People don’t think you’re cool until you can speak it,” she says.

She was a megastar, she still is. An actress for whom the biggest filmmakers mounted lavish projects, in an era that was massively male-dominated. Such was the magic of this matinee queen. While she sensuously swayed in her classic chiffons, million of hearts went aflutter. Sridevi could slip into being Chandni or Charlie Chaplin with as much flair and brilliance. Or break barriers, linguistic ones too, and make a stellar comeback with a film (English Vinglish) after 15 years. Tell her all this flatteringly, and she looks back at you casually and says, “I am very simple, all these praises scare me. I feel like a newcomer.“

Comfortably settled on her couch for a long chat, sans make-up, her large eyes beam through her thick-rimmed glasses, as she talks about her upcoming film, Mom. And of course, she tells stories about how she raised her daughters as a superstar mom. Read on...

Mom is your 300th film, and you also complete fifty years as an actress. Is there anything about your career you would do differently, if you had a chance?
Not at all! I wouldn't want to change anything about my career. I hadn't planned any of this; it fell into my lap and I am grateful to God for it. I just want it to remain like this. My mom and I never thought that I would make my way into Bollywood. I was happy doing films down South. When my first Hindi film Solva Sawan (the 1979 remake of a Tamil film) was being made, I thought... 'Yeh picture toh South main hit ho gaya, so they are making it in a different language'. That's all. Then, I came to know that the film didn't do well and I went back to doing other Southern language films. It was as simple as that. Before Himmatwala (1983) happened, the producers had taken my dates for another Telugu film, and all of a sudden, they said that they weren't doing that movie anymore, instead, they were doing a Hindi film with Jeetendra. My first reaction was that if my Hindi debut was a flop, then why do they want me to do another film? They didn't bother to hear me out and went ahead with it. I kept thinking that these people are mad to be doing this (laughs!). I am glad that I did Himmatwala because after that, one film led to the other. Talking about Mom, the moment I heard it, I was drawn to the subject. It touched my heart. I had a good feeling about it and I always go by my instinct.

Your co-actors say that working with you is an opportunity of a lifetime. You were even called the first female superstar and I am sure many such titles rest on your mantle, and yet, you insist that you are a newcomer...
All these labels and praises scare me. I am very simple and I feel like a newcomer because I never stopped learning. I feel there is so much more to learn about the craft, in fact, this is just the beginning. Times have changed. In the earlier days, sometimes when we were on the set, we would ask the director, 'Sir, dialogues de do'. Meanwhile, the writer is sitting somewhere on the set and penning the dialogues. The team would tell us, 'Garam garam aa raha hai scene', but now, we can't function like that. The bound script is already with you, and you are well aware of the mood of the scene, your look, the clothes and everything else. But I guess, that was the style back then; people still did a great job and it worked in that era. Today, films are made differently and there are so many heroine-oriented movies. Filmmakers are willing to take chances, and explore these subjects. It is the best time to be in the industry and there is so much more I want to learn as an actress. I never went through a phase in my career when I said, 'This is enough; I don't want to do this anymore'. Acting has always been my passion.

You come from an era when stars were super exclusive. Nowadays, they interact directly with the fans, they chat with their fan clubs, et al. How have you coped with this huge change?
It is an amazing change and it is for the better, as fans can communicate with their favourite actors and share their views; we can also know their reactions directly. Earlier, we did maximum two-three interviews and left the rest to the fate of the film. Now, the promotions have become so aggressive, but we have to change with the times. I always say this dialogue (borrowed from Dabangg), 'Shooting se darr nahin lagta hai, promotion se lagta hai'. I had to cope with it, I had no choice. I joined social media during English Vinglish (2012) because I was coming back on screen after 15 years and the team thought that I should be a more happening mom. Yes, earlier, there was a certain beauty in the exclusivity and privacy we had, but now, we are clicked everywhere and anywhere - at airports, restaurants, salons, gyms - and we always have to be on our toes and see who is around us. Today, even if we want to keep our life private, I don't think that it is possible.

Actors who have worked with you say that you take 'being private' to a different level. Are you really so reserved, or do you fiercely guard your private life?
Some people think that I am very arrogant, but I am genuinely a very private and shy person. I open up to people who are close to me, and with them, I am a different person. So, I think that at times, my shyness has been perceived by some people as arrogance.

Boney Kapoor is producing a film with you after long. We heard that your daughters, Jhanvi and Khushi, were also very involved. There must be a lot of excitement at home about Mom...
Boneyji is very excited. Yes, he is doing a film with me after 20 years, the last one was Judaai. He's on top of the world seeing the reactions Mom's trailer has garnered. It was like a home production, where all of us were involved. We were looking for some one fresh and good-looking to play my husband and Jhanvi showed us Adnan Siddiqui's (Pakistani actor) picture. We all liked him right away and reached out to him. The director of the film, Ravi Udyawar, is new and I am often asked why I am working with new directors. I say, 'Why not?' I am lucky that I got a chance to work with Gauri Shinde (English Vinglish) and now, Ravi. He had a great vision for Mom and he was so passionate about it that I couldn't imagine any one else doing justice to the film.

We also heard that Boney and you would barely interact while shooting for the film on outdoor locations. Now, that's a different level of professionalism...
Really? I don't think that it is a big deal. When I am shooting, I don't want to see my husband around or even remember that he is my husband; I just want to focus on my work. Yes, it's true that I barely conversed with him while shooting; we were staying on different floors and just wished each other good morning and good night.

When you are doing an intense role like the one in Mom, or maybe one of your older films like Sadma (1983) - do you feel emotionally sapped? How much of the character and the emotion do you carry back home with you after the shoot is over?
Actually, Sadma wasn't an emotionally draining film for me; it must have been for the audience. I was playing a woman who was like a child; it was Kamal Haasan's character that was intense and very emotional towards the end. Jhanvi saw the movie when she was around six years old and she didn't talk to me for three days. She told me, 'You are a bad mamma. You were so mean to him'. I think Mom was an intense film for me. One of my friends who met me during the shoot and afterwards told me that I was a different person while shooting for the film. She said, 'Even the way you were walking and talking had changed. Now you are back to what you really are'. Interestingly, I didn't even realise that. It is a very emotional character, so I guess somewhere, it must have consumed a lot of my emotional energy. For me, all this lingers while the film is going on. After that, I switch back to normal, or else my children will throw me out (laughs!).

As a superstar mom, did you find yourself struggling to give your daughters a normal upbringing?
I brought up my kids the way my mom raised me. She gave me a normal upbringing, and when I had children, I did just that. When I am on the set, I am an actress, but at home, I am like any other mom. Of course, I tried to guard them as much as I could, but they were clicked everywhere we went and we couldn't help that.

There is so much talk about Jhanvi's launch and she has a huge role model at home to look up to...
I know that there is a lot of curiosity about her launch, but I want to say that it will be very unfair to compare Jhanvi with me. I began as a child artiste, I had done 60-70 films and I knew a lot about shooting, camera and filmmaking by the time I was her age.When Jhanvi does her first film, people should judge her as an individual, instead of comparing her with me. My journey has been long. So, it will be unfair to compare a girl who is just starting out her career with someone who has done 300 films.

The thought that she will be in the same space that you have been in for so many decades... does that make you nervous?
I guess it is a different feeling though it has not started yet. I never thought that she will go through this. I thought that she will study, do something else and then get married. And I will be free (laughs!). Today, children have their own mind and I have seen how my mom supported me, so I will support her in whatever she is willing to do.

Sometime around 2012, you had said that Jhanvi will not be an actress. How did that change?
At that time, she was younger and I thought that I could mould her and tell her what I wanted her to do (smiles!). Then, the shock dropped on me like a bomb. I thought that there is no running away from this and I have to face it. When she told me that she wanted to be an actress, I told her that there will be many problems and it won't be an easy ride. It is a very tough world out there and being an actress comes with a lot of hard work and sacrifice. As a mother, I obviously thought, 'Why should my child go through this? I have worked so hard for so many years... ab sab settle ho gaya. Let them have a peaceful life'. Having said that, I believe that whatever I am today, I owe it to this industry. I have so much respect for it. Stardom has never been easy and even going ahead, it won't be. If Jhanvi has made this choice, I have to be there for her. I will take it up positively and give it my 100% as a mom. My close friends tell me that I have to be strong about it and take care of myself. Well, it looks like I have to prepare myself more than her. With Jhanvi doing films, it feels like I am starting all over again.