Sheetal Sharma’s Santacruz living room doubles as a home, archive and costume lab. Copper curios and family photographs share shelf space with hefty books on Chanel, Givenchy and Prada. His team gathers here to dissect scripts and build characters. At present, the room is occupied by a mythological drama set before the Ramayan.

“I don’t like working in production-house boardrooms. They feel very cubical,” says the 44-year-old, dressed in his own uniform of white linen shirt and olive-green trousers. “Here, there’s open space to think and bounce ideas around.”

There is a new object in the room too: the National Film Award he shares with Deepali Noor for the costumes of Pushpa 2 - The Rule. Sharma initially assumed the email announcing it was a scam. “With so many online scams around, I didn’t even open the link,” he laughs. A call from the Ministry of Information and Broadcasting eventually convinced him otherwise. On September 22, he received the honour from President Droupadi Murmu in Gujarat.

Cinema was never the plan. Raised in a military family between Jammu, Amritsar, Pathankot and Mumbai, Sharma first enrolled in hotel management, “because I wanted to be a chef.” Dyslexia made the mathematical side difficult, and he left after 18 months.

An aptitude test guided him towards creative work. Graphic design proved too geometric; fashion finally stuck. At the Wigan and Leigh college of fashion and management in Mahalaxmi, he learnt to sketch, cut, stitch and embroider, before studying period costume for theatre in Britain. Then came the 2009 recession and a return to India without a job.

His real education began on Ashim Ahluwalia’s Miss Lovely, where a tiny budget meant Sharma did almost everything himself. “I ironed garments, distressed fabrics and learnt to navigate Mumbai’s wholesale markets.”

He still does. Crawford Market, Mangaldas Market and Chor Bazaar are as useful to him as any fashion archive. For Pushpa 2, Rs 150 second-hand saris bought off the street were cut up and transformed into printed shirts for Allu Arjun and the supporting cast. Sixteen blue saris were used to a create look for Arjun in one dance sequence alone.

Sharma reads a script closely, and likes to pick apart every detail. He annotates it line by line, inventing histories that may never be spoken on screen: how long a character’s hair might be, whether they would have a tattoo, how much money they possess, what they would realistically buy.

Sometimes the clue comes from life. “Gangubai’s sunglasses in Gangubai Kathiawadi were inspired by women I spotted on Mumbai local trains, pairing saris with goggles. Her white wardrobe drew upon the scant historical description of Gangubai as a woman who wore white and plenty of gold. One sari I sourced was an 80-year-old piece from Jodhpur, woven with real silver thread.”

The clothes had to work with Sanjay Leela Bhansali’s sets and light too. Sharma recalls how, on Kesari Chapter 2, a miniature of the courtroom helped the departments decide whether charcoal coats would photograph better than black. In Imtiaz Ali’s Main Wapas Aunga, clothes became a direct narrative device for Ishar Singh Grewal, the elderly protagonist played by Naseeruddin Shah, who has Alzheimer’s disease. A traditional Chand Bali earring changed size between scenes, while one outfit shifted from white to red without changing its tailoring, signalling the character’s growing memory loss. His private costume archive in Govandi now holds pieces from several films, kept with the producers’ permission: Shah Rukh Khan’s black kurta-pyjama from Raees, jewellery made for Vicky Kaushal in Chhaava and other remnants of characters whose lives ended when the cameras stopped.

For Stree, a vintage shawl found in Chor Bazaar became Shraddha Kapoor’s maroon embroidered jacket. When costumes from the first film could not be traced, Sharma says, “My team recreated them for Stree 2, re-dyeing and reprinting fabrics and even recreating materials that were no longer available.”

That obsessive eye does not make Sharma particularly interested in fashion trends. He cheerfully admits that contemporary terminology can escape him and prefers the permanence of a trench coat or Patiala salwar to whatever happens to be fashionable that season.

It may explain why his work rarely feels like celebrity styling. On Animal, where he joined after four previous costume designers, Ranbir Kapoor ended up in the linen shirts Sharma himself favours. “On set I was told, ‘You made him like you,’” he recalls. Nor does he believe cinema must always dress people exactly as they dress in life.

“Films also need to sell aspirations,” he says. “We are city people, so we might say, ‘Who does stuff like that?’ But in small towns, people really adore those things. They aspire to go to college looking like that. In the end, films are selling dreams.”

His own taste remains considerably less grand. If he ever starts a clothing label, Sharma says, it will be “easy and breezy”, built around simplicity rather than trends. Which seems fitting.

After years of making clothes speak for everyone else, Sharma is happiest when his own clothes speak the least.

Filmmaker Mahesh Bhatt has directed some of Hindi cinema's most memorable actresses. Yet, when he speaks about daughter Alia Bhatt, there is genuine surprise in his voice. During an interview when asked if he is proud of her daughter being the biggest star in the country, he first corrects us, 'one of the biggest stars of the country', and then goes on to say,

"She's astounded me because Soni and I never thought she had this kind of latent talent in her. We didn't really have what you would call a film culture at home. I kept making movies, but that was my work. When I saw her in Highway, I was astounded. I'm again astounded by her in Gangubai Kathiawadi. From where did she get that body language? She was never exposed to that kind of society or culture. I woke up to her exactly the way the nation woke up to her."

One compliment, in particular, convinced him she had truly disappeared into the character. "For me the greatest compliment to performance came from an event to Jharkhand. A tribal woman who watched Udta Punjab said she believed Alia belonged to her community. I thought, 'Oh my God, this is as real as it can get.'"

He goes on to add, "I always tell my children that whenever you feel you're soaring towards the zenith, remember you haven't even scratched the surface."

Asked whether he sees shades of his younger self in Alia, Bhatt smiles before saying evolution has made her better than the previous generation.

"She has a drive. Every generation is superior to the previous one. Evolution has its own way of improving itself. There is this thirst she has. She oscillates between Mumbai, Cannes, Singapore and Hyderabad, shoots films, fulfils professional commitments, comes back home and continues to play the role of a wife and a mother. It is an astounding kind of energy. (However), One of the greatest roles she's playing today is the role of a mother. It is very humbling to watch. You're such a big star, but you never make anyone around you feel that. The role of a mother becomes the most important role you will ever play. She's promoting films across the country, yet she's constantly running her home," he explains.

If Alia continues to surprise him as an actor and mother, granddaughter Raha Kapoor has transformed the entire family's dynamic. "She'll outdistance Ranbir Kapoor and Alia by miles. She's different. She has a different vibe. When she comes, the whole house becomes hostage to her energy. For those few hours, she becomes the centre of everything," he confesses.

Does he spend a lot of time with her? Bhatt replies, "I recently went with Neetu (Kapoor) to her school for her Grandparents' Day. Soni was in Istanbul. We were walking through a cloud of soap bubbles. I was holding Raha's hand while Neetu was holding the other. It was a beautiful moment. That was something which I remember doing with only Pooja. It brought back memories of walking with Pooja when she was little. Suddenly, time collapsed. She is a vibrant version of Pooja. (Eventually) The same kind of family."

Bhatt laughs while describing his unusual bond with his granddaughter. "She can't quite figure me out. She probably wonders, 'Who is this man and why does he speak the way he speaks?' I manage to tell her one story. She enjoys correcting me whenever I pronounce the name of an animal incorrectly. Soni is very protective of her. She has got the best Nani, and Dadi," he explains.

He continues, "And her father. Oh my God. I'm also astounded by the role he's playing as a parent. And they both are stars. It just shows that this narrative that, working actors especially stars neglect their children, which we heard in our days is a thing of the dark past and is not true anymore. Today you have better communication. You have CCTV cameras shooting for and you can see what's going on at home."

As Raha reminds him of Pooja, his eldest daughter, one cannot help but mention her. Bhatt's bond with eldest daughter Pooja Bhatt has often fascinated the industry, but he believes their closeness was forged long before fame arrived.

"When you become a father at 22 and you're struggling, life is different. I'd carry her water bottle to school. I'd wait around Bandra because I didn't have enough money to travel back and forth. I was unemployed. I spent a lot of time with her. I'd take her to my music sittings. She would sit there in her school uniform while the sessions went on. She, amongst my children, has spent the maximum time with me in those days. She has the courage to stand alone," he ends.

After much speculation, Bombay Times can now confirm that Alia Bhatt has officially joined the critically acclaimed Tumbbad franchise. The actress will appear in a pivotal role alongside Sohum Shah and Nawazuddin Siddiqui in Tumbbad 2, an anticipated sequel, marking one of the most significant collaborations in Indian cinema.

Known for her remarkable range and fearless choice of roles, Alia’s arrival marks a defining moment for the film. Her ability to seamlessly move between intimate character-driven performances has consistently made her one of the most compelling actors of her generation.

Alia told Bombay Times, “Tumbbad has stayed with me ever since I first watched it. Very few films create a world that feels this original and immersive, and even fewer continue to grow in people’s imagination years after they’ve released. That’s what makes this opportunity so exciting. To now become a part of that world is incredibly special. I’m looking forward to working with Sohum and Nawaz, two artists I’ve admired for a long time, and to exploring a character that belongs to a story as rich, mysterious and unforgettable as Tumbbad. I can’t wait for audiences to experience what we’re creating together.”

Celebrated for its rich world-building, atmospheric storytelling and visual ambition, Tumbbad redefined the folklore fantasy genre in India and has earned a cult following over the years. Its re-release went on to become the highest-grossing re-releases in Indian cinema. With Alia joining the cast featuring Sohum Shah and Nawazuddin Siddiqui, Tumbbad 2 is set to expand its canvas.

Sohum Shah shared, “Having Alia Bhatt come on board for Tumbbad 2 is truly delightful for all of us. She is undoubtedly one of the most talented actresses of this generation, and I am sure the audience will get to witness something unique with her in the film. We have all witnessed her incredible performances on screen right from her debut. This is my first collaboration with her, and I am genuinely looking forward to working together.”

Tumbbad 2 is directed by Adesh Prasad and spearheaded by actor-producer Sohum Shah under his banner Sohum Shah Films, in collaboration with Pen Studios. The film is slated to release in cinemas on 3rd December 2027.

Producer Dr. Jayantilal Gada said, "Alia Bhatt is undoubtedly one of the finest actresses in our industry, and her joining Tumbbad 2 is truly incredible. This also marks our third collaboration with Alia after the phenomenal success of Gangubai Kathiawadi and RRR, making it even more special for us. She is the perfect choice for this film, and the audience will see her in a way like never before."

Having completed 13 years in the film industry, Alia Bhatt finds herself at a point defined less by speed and more by intention – also shaped by her journey into motherhood. Looking back, the actress says her relationship with work remains instinct-led. “I don’t really look at my career in phases or milestones. The way I chose films earlier is the same way I choose them now – by trying to do different things, setting myself up for new challenges and constantly putting myself outside my comfort zone,” she tells us.

Meanwhile, life has expanded beyond the set, and what has evolved is the pace. “Of course, the volume and the speed at which I work now are different because I have a child. But it’s a comfortable pace, and I’m happy with it. I like doing one film at a time and giving it all my energy. Earlier, I would do two or three films simultaneously, but I don’t want to do that anymore,” she says.

Alia’s connection with cinema remains deeply emotional. “Movies make me happy. I’m finding ways to stay connected to that magic in different ways now, not just as an actor. I’m also producing content. We’re developing projects that will go on the floor next year, and I’m creatively involved in that process because I consider myself a creative producer,” she says, adding, “When it comes to my career, I’ve always gone by my instinct and gut.”

Her next release, Alpha, marks a shift into the action genre. “I’ve said this before and I’ll say it again – I don’t consider Heart Of Stone an action film for me. It was an action world, but my character wasn’t action-oriented in that sense. With Alpha, the opportunity to actually do action is something I’m supremely excited about,” she clarifies.

Doing the film post motherhood added a new dimension to the experience. “Doing action after having a baby was very interesting because it allowed me to see what my body is capable of. It was such a learning experience, and it gave me a lot of respect for my body,” she adds.

Unfazed by the unpredictability of outcomes, Alia says she doesn’t dwell on success or failure. “Success and failure are not in your hands. What is in your hands is learning, growing and finding a process that nurtures you as an artiste and as a person. Filmmaking is never about one individual. It’s an entire crew coming together to work towards one shared vision,” she concludes.

Alia’s next two films are among the most anticipated. First up is Love & War, which sees her reunite with Ranbir Kapoor, Vicky Kaushal and Sanjay Leela Bhansali. “It’s a very special film. We’ve been shooting it through the year, and it never feels like enough. You always want one more day, one more moment, one more scene where you’re just jamming the energy,” she says.

Working with Bhansali continues to be one of her most cherished creative collaborations. She adds, “Working with Sanjay sir is one of my most treasured experiences because of the way he brings his magic to every single moment. But it’s also deeply collaborative. The energy on set is very quiet and focused. We come in, we work hard and everyone brings something different to the table. Of course, the final magic wand is always in Sanjay sir’s hands. It is one of the most fulfilling creative experiences I’ve had on a film set.”

Reflecting on Bhansali’s Gangubai Kathiawadi, Alia says the film reshaped how she approaches performance. “What I learned on the Gangubai set was to walk in every day with a blank slate and a blank mind. That element of surprise is something Sanjay sir thrives on, and it teaches you to surrender completely to the process.”

The Diamond Bazaar is a delectable package of many surprises. In his maiden web series, Sanjay Leela Bhansali has brought together an eclectic bunch of actors. While Farida Jalal returns to screen after a decade, it also features Fardeen Khan, who was last seen in Dulha Mil Gaya (2010). Among other things, it also stars father-son duo Shekhar and Adhyayan Suman together on screen. Shekhar plays the flamboyant Nawab Zulfiqar, who is in love with Manisha Koirala’s character Mallikajaan, and his son steps into the shoes of Zorawar, a mean, brutal nawab.

Netflix’s ambitious series is centred on six female actors—Koirala, Sonakshi Sinha, Aditi Rao Hydari,  Richa Chadha, Sanjeeda Shaikh and Sharmin Segal—but Shekhar asserts that the male characters aren’t ornamental.

“The dynamics between the tawaifs and the nawabs were intimate. It is quintessentially the story of the courtesans and how they wielded power, but these women derived their power from the men. Nawabs were skilled mercenaries, who allied with the British to get power and titles. My character has a hint of arrogance. He adds to the politics of Heeramandi. He is in love with Mallikajaan, but doesn’t shy away from [threatening] her when she doesn’t bow to him,” says the actor.

If fate had worked out differently, Shekhar would have collaborated with Bhansali over two decades ago on Devdas (2002). He recalls, “I came close to working with Mr Bhansali in Devdas when he called me for the role of Chunnilal. I couldn’t do it then because of my workload. But since then, whenever we met, I told him that I would love to work with him when the opportunity presented itself.” And it did in Heeramandi, a period drama about the courtesans of Lahore. It was doubly joyful to work on the project as Shekhar has always had an affinity for history.

“I love historical movies made in India. When I met Mr Bhansali, he was looking for a good actor who had knowledge of the era. Also, he wanted to go for an unusual casting. I knew of Heeramandi for years because it’s written by my friend Moin Beg. He [SLB] is an intense filmmaker who puts passion, pomp, grandeur and everything into the story.”

For the senior Suman, Heeramandi may be the realisation of his wish to work with Bhansali. But for Adhyayan, it is more than a show; to him, it is a ray of hope that pulled him out of darkness and despair. The actor hit headlines early on in his career when he featured in Raaz: The Mystery Continues (2009), but soon had to make do with forgettable films. It hasn’t been an easy run, he admits. 

“There have been days I have been broken, I wanted to give up. It sounds dark, but I didn’t want to live anymore. Acting was something I was very passionate about. Unfortunately, [work] dwindled in 15 years. I became a star with a successful film and then 12 films didn’t work. I have not worked for seven years. I went through rejection after rejection. I would wonder, ‘Kal kya hoga?’ The day I stopped chasing, things began to work out.”

After watching Gangubai Kathiawadi (2022), he nursed the desire to work with the filmmaker. “In a few weeks, Shruti Mahajan [casting director] called to say that sir is casting for Heeramandi. My father would always say that there is light at the end of the tunnel; for me, Bhansali sir became the light. When Shruti called, I was in the Himalayas. I stopped on the road in the hills, and recorded my audition.”

When he initially wasn’t chosen for the part, Adhyayan was admittedly “heartbroken for two months.” “However, on a Saturday afternoon, I was called to meet sir. His words were, ‘Bachcha, I will see you on set tomorrow.’”

On set, the two actors and their characters were as different as chalk and cheese. Through Zulfiqar, Shekhar had to bring alive a character whose love for Mallikajaan was more about power and less about romance.

He breaks it down, “There was a lot of uneasy love on paper and a lot that Mr Bhansali added on set. He is a director who changes the interpretation when the shot flows. I have known Manisha for years, so there was chemistry. Manisha is accomplished, she knew how to be Mallikajaan and that made the energy between her and the nawab easy [to create].”

Adhyayan, however, decided to play his part more emotionally and less technically. His process was personal. Guiding him through the role was his father who sat and read lines with him all night. “Zorawar is debauched, grey, looks down upon the women in Heeramandi; he makes a woman believe he is in love with her and marries another person. A scene in the second episode changed my life. Bhansali sir got up after my performance and cried. I have been waiting for 15 years for an opportunity, and now that I had the opportunity, I couldn’t not be sincere. The character’s language came from my father. Bhansali sir is so sharp, he caught that my father has been working with me off set. One day, I was giving my cues to Manisha ji and sir said, ‘Iske baap ne sikhaya hai isko.’ I was rehearsing with dad from 1 am to 6 am, and at 8 am I was on set.”

Over the years, the industry has heard more than its share of rumours about Adhyayan. Much of the dialogue about him has been about his off-screen life than on-screen work. The actor hopes that with the web series, the audience will see the artiste in him. He has already noticed a change in his co-actors. 

“One night, Richa came home with me to prep for a major sequence that was to be shot the next day. When she went home, she sent me a long text saying, ‘I had these preconceived notions about you being a spoilt star kid, someone who is not serious about his art and got it easy. So much has changed in you. Hats off to you!’ Her validation made me emotional. The lack of opportunities has not let people take me seriously. People have said to my face, ‘We thought you do drugs.’ I wasted a lot of time looking for answers to where the rumours started. Now it is all behind me.”

We also hope to see more of Shekhar, whom we used to see every day on the tube in our growing-up years as he hosted the popular Movers & Shakers. Considering we are in the midst of the election season, why wouldn’t he give his audience just another season of the crackling show filled with political humour?

The actor-host says, “Movers & Shakers was a cult show. But it has probably resulted in the undoing of an actor. That imagery is so strong that it has been tough to imagine me as an actor. Unfortunately, I am good at comedy. I would love to do that now, especially in the election season. I want to do it sporadically, not continuously. It would hamper my growth as an actor.”

CREW is the third highest opening ever as far as female lead driven films go only behind VEERE DI WEDDING and GANGUBAI KATHIAWADI though final numbers can even take it above the latter. It is a holiday which has pushed the film to the levels of GANGUBAI KATHIAWADI but even without that, it would have been in the top ten

The top ten list is dominated by films of Kareena Kapoor and Alia Bhatt who are probably the biggest female stars of the past two decades or so. There is also HEROINE (Kareena Kapoor) sitting on 11th place. CREW is an ensemble cast featuring other female stars like Tabu and Kriti Sanon. Hence, its a package but Kareena Kapoor is the main driving force as far as box office goes. There is only one double digit film and that is also a Kareena Kapoor starrer, VEERE DI WEDDING

There have been five heroines in the Hindi film industry who would be in the all time great list and were undisputed in their times and they are Vyjayanthimala, Mumtaz, Hema Malini, Sridevi and Madhuri Dixit and post this opening of CREW, Kareena Kapoor joins the list. Maybe the level of success is not as high as the other names above but the longevity makes up for that. If the success ratio of Alia Bhatt keeps up over the next few years, her name will also be up there with the all time greats, making it seven heroines. 

The opening of the film is also boost to the films featuring the heroines as central leads as today most of the top female stars want such roles which makes it tough to get a top male star and a top female star in the same film catering to the mass audience as it will be male dominated.

The problem occurs that today films post pandemic have to cater to a wider audience to get an initial. As a result, it has to be more commercial and cinematic which is tougher with females. It leads the heroines towards action and they play avenging angels or spy agents and basically become the heroes. But the fact remains that heroines become stars due to their songs and glamour but this all goes out of the window in an action/thriller film.

Obviously its action which is going to take these opening numbers higher but how do you do it retaining the essence of the Hindi film heroine with songs and glamour as presenting the heroine like a male will not cut it with the wider audience.

The top ten opening days for heroine led films are as follows.

1. Veere Di Wedding - 10,42,00,000 (Kareena Kapoor)

2. Gangubai Kathiawadi - 9,62,00,000  (Alia Bhatt)

4. Dear Zindagi - 8,62,00,000 (Alia Bhatt)

5. Tanu Weds Manu Returns - 8,61,00,000 (Kangana Ranuat)

6. Mary Kom - 8,32,00,000 (Priyanka Chopra)

7. Ragini MMS 2 - 7,93,00,000 (Sunny Leone)

8. Manikarnika - The Queen Of Jhansi - 7,66,00,000 (Kangana Ranaut)

9. Jism 2 - 7,46,00,000 (Sunny Leone)

10. Raazi - 7,33,00,000 (Alia Bhatt)

The box office has been back for two years now and now enough films have been released to get an idea of star positions post the pandemic. As far as female leads go, Alia Bhatt is the undisputed number one being the main force driving for the success of GANGUBAI KATHIAWADI and ROCKY AUR RANI KII PREM KAHAANI. She is probably the only female star who is a a box office draw and can carry a film alone.

The box office numbers of films featuring Alia Bhatt have always been better in Mumbai city and Pune even when the content is more of a North type of film like 2 STATES or RAAZI and this has continued with GANGUBAI KATHIAWADI and ROCKY AUR RANI KII PREM KAHAANI. So, when a heroine has a few places always outperforming, it really helps at the box office though it will be tougher ahead as these two centres are very unpredictable at the moment.

There are probably three other female leads that can be called stars today and they are Deepika Padukone, Kiara Advani and Shraddha Kapoor. So the ranking today is as follows and its difficult to put someone in fifth place as either no one is able to make much of an impact or other female leads don't hold the same value as before.

1. Alia Bhatt

2. Deepika Padukone

3. Kiara Advani

4. Shraddha Kapoor

There was a time when Deepika Padukone was well clear of the field but there were not many films towrds the end of the last decade just before the pandemic and the attempts to succeed in films where the female lead is the driver did not work like FINDING FANNY and CHHAPAAK. The last named was a huge downer just before the pandemic. PATHAAN came post the pandemic and it probably undid some of the CHHAPAAK damage which was a mistake of epic proportions for a heroine like Deepika Padukone.. 

Kiara Advani had made huge strides just before the pandemic with films like KABIR SNGH and GOOD NEWWZ and even in the pandemic, she had a blockbuster song Burj Khalifa and the film LAXMII (2020) which is probably still the only genuine HIT to be premiered on digital. The run continues post the pandemic and at the moment, she is that quintessential Hindi film heroine who fits well into all genres and is also able to pair up with most leading male stars. In popularity with the youth, she could actually be ahead of Deepika Padukone at this point of time.

Shraddha Kapoor is the fourth genuine female star today and actually should probably be doing better but there are so few films and this is just not the case over the last few years but even now post pandemic it will be only two releases in around four years with TU JHOOTHI MAIN MAKKAAR and STREE 2. The popularity is there but films have to come to prove this.

After these four, it would probably be names like Katrina Kaif, Kareena Kapoor, Kriti Sanon and Disha Patani. Katrina Kaif had TIGER 3 which did well and that is the zone she fits into well but there are very few films made like that. But the issue is that its difficult to slot her into that so called female content film zone unless its action genre but those films are also very less if any.

Kareena Kapoor has had LAAL SINGH CHADDHA and a television film but has face value and the talent still to work at the box office given the right film. But obviously too many television films will dilute the equity as far as theatrical value is concerned which will only make box office success harder especially in a female led film.

Kriti Sanon was on a upward curve before the pandemic hit and just behind Alia Bhatt and Kiara Advani as fas as the girls who made an entry in the last decade were concerned. Post pandemic, the audience has not been that kind with major duds and now its about whether this trend can reverse with the right films.

Disha Patani is similar to Shraddha Kapoor with so little work. There is some credit to go to her for the initial of EK VILLAIN RETURNS. So, there is some popularity there but again, you need back to back films to reach that genuine star status.  

Generally there is dearth of popular heriones for the youth hero/heroine film as Alia maybe has become too big for this zone, Deepika will not pair well with the younger actors while Shraddha hardly does films leaving Kiara. But with her run at the box office, she will probably have the choice of the bigger films and there are four female stars who actually make a difference.

This makes it even more difficult to make that medium budget comedy/action /love story as the younger male stars have not hit huge heights at the box office, Hence, you need a pairing with a popular heroine to make it a package to get that initial audience out but those heroines are limited in supply.

Ijjat se jeeneka, kisi se darneka nahi” – during an interactive session at the Red Sea International Film Festival in Jeddah, Alia Bhatt modulated her voice and delivered her famous dialogue from Gangubai Kathiawadi – the film that won her a National Award this year – to the loudest applause.

The actor, who’s on her first trip to Jeddah, also spoke at length about her career. Alia admitted that she froze on the sets of Dear Zindagi during her first ever shot with Shah Rukh Khan. “As we went on sets and we were doing the first shot together, I think I froze. My mind went completely blank because I couldn’t believe it. And then Gauri Shinde had to come and whisper in my ears, ‘You have to forget The Shah Rukh Khan’, and I was like, ‘Okay.’ Actually, my character had to give him attitude and I was like, ‘How to do this’,” she shared.

She also revealed her ‘cheat code’ to acting, which involves taking on off-beat or unusual roles like those in Udta Punjab or RRR, and giving them a completely new spin. “So, I take it upon as a challenge and I really enjoy doing it. There is a lot of prep work but I feel it makes half of the job much easier where you can just give a completely new face to a character and that will not be anything like you. So, like ‘Oh wow! What a great actor because she’s not like that’. So, it’s actually like a cheat code. It takes new lengths in your performance,” she said.

From growing up in the public eye to becoming one of the most sought-after actors in Bollywood, Alia Bhatt’s life has been nothing short of a filmi story. In conversation with Sonal Kalra, Chief Managing Editor, Entertainment & Lifestyle, Hindustan Times at the 21st HT Leadership Summit held on Saturday, the National Award-winning actor floored everyone with her unabashed honesty about her personal and professional life choices, raising daughter Raha, and donning multiple hats as an actor, producer and entrepreneur. 

“I’m always taking India with me,” stated the Gangubai Kathiawadi (2022) actor at the beginning of the session, while talking about representing the country internationally, be it for a movie, a luxury brand, or the Met Gala. 

Bhatt, who looked resplendent in an ivory suit, opened up about the much-hyped discourse of her wearing her wedding saree to receive the National Film Awards. “[Almost] instinctively, I felt that I was going to wear my wedding saree (when her name was announced for the National Award). It was a garment I felt myself the most in. My wedding was a special moment [for me], and this was also a moment that felt special for different reasons. An outfit can be worn for a special occasion more than once. I don’t think I was doing something special!” 

Bhatt’s career seems to be going from strength to strength — from starting off as a young actor in Student Of The Year (2012) to turning co-producer for projects like Darlings (2022) and Jigra. Calling it a “creative ride” the actor shared, “Our Prime Minister Narendra Modi recently said [in one of his speeches], ‘There are no losers in life, only winners and learners’. This stayed with me, and I believe I’m a learner.” 

Considering her hands-on experience backing a project, can we see her in the director’s chair soon? Bhatt laughed and answered, “I would be a very impatient director. But never say never! I don’t have that kind of command over a story. I can aid other filmmakers get them together as a producer. Although Sanjay sir (Leela Bhansali, filmmaker) once told me, ‘I think you should direct a movie one day’, and I was like, ‘Sir?’ and he just said, ‘You will see’.” 

New Delhi: President Droupadi Murmu on Tuesday conferred the Dadasaheb Phalke Award, India’s highest film honour, on cinema’s enduring icon Waheeda Rehman, an honour she dedicated to her “dear film industry” and its various departments.

President Murmu also conferred the best actor award on Telugu star Allu Arjun for his performance in ‘Pushpa: The Rise’ and best actress to Alia Bhatt and Kriti Sanon respectively, for their performances in ‘Gangubai Kathiawadi’ and ‘Mimi’.

Referring to films as the most effective medium to spread awareness, Murmu said at a function at Vigyan Bhavan that meaningful films depict the achievements and problems of society and the country.

Arjun, who received the award amid loud cheers, said the award was not only a personal milestone, but belonged to everyone who supported and cherished his cinema.

Alia, who attended the ceremony with actor-husband Ranbir Kapoor, also said she was grateful and honoured for having been awarded.

Actor-filmmaker R Madhavan also received the National Award for best feature film for his directorial debut ‘Rocketry: The Nambi Effect’, while actor Pankaj Tripathi won the best supporting actor for ‘Mimi’.

Union information and broadcasting minister Anurag Thakur said Indian content was no longer limited to regions, adding that the government stands with the industry in its efforts to counter movie piracy, and also on a policy that will help India realize its potential as the “content hub of the world”.

It was a regular Thursday afternoon for Kriti Sanon. Until it wasn’t. Seated in a meeting at her home that day, the actor gave in to an unrelenting caller after ignoring multiple calls from the number. She remembers the next few minutes vividly.

“I got the news that I had won the National Award for Best Actor. I froze for a few seconds. I got almost teary-eyed and ran to my parents’ room to break it to them,” recalls the actor, who won the honour for her performance in Mimi (2021) as the 69th National Awards were announced last week.

Sanon views the honour not only as an acknowledgment of her craft, but also as the realization of a personal wish. “This was one of the dreams that I wanted to fulfil in my career. I had written it in my personal diary. Not many actors get to live this moment,” she says.

With the win, the audiences’ expectations from her have only risen. She knows that as she says, “If people are believing in my talent, I need to up my game.” At the same time, she is also aware that films like Mimi, which explore an actor’s range, don’t come by easily. Apart from Laxman Utekar’s directorial venture, she says only Bareilly Ki Barfi (2017) tapped her potential.

“Both Mimi and Bareilly Ki Barfi were centred on my character. It tells me that the audience loves to see me play layered characters. But it’s very difficult to find good scripts that you can shoulder alone. I have been trying to find such scripts.” She adds that her line-up of films, including The Crew with Tabu and Kareena Kapoor Khan, gives her a chance to showcase her versatility.

A talk about the National Award win would be incomplete without the mention of Alia Bhatt, who shares the Best Actor honour with her for Gangubai Kathiawadi. Sanon reveals she called Bhatt after the awards’ announcement.

“She was phenomenal in Gangubai Kathiawadi. I have always admired her as an actor. I congratulated her, and we were just two girls screaming on the phone, taking it in and being happy for each other. We [said] that when we go to take the award together, we will celebrate this moment,” she smiles.

New Delhi: ‘The Kashmir Files’, Vivek Agnihotri’s controversial film on the exodus of Kashmiri Pandits from the Valley, bagged the Nargis Dutt Award for best feature film on national integration at the 69th National Film Awards announced Thursday. Pallavi Joshi won best supporting actress for the film.

The National Awards for 2021, announced by filmmaker Ketan Mehta, declared Nikhil Mahajan best director for Marathi film ‘Godavari’.

The Indira Gandhi Award for best debut film went to ‘Meppadiyan’ in Malayalam while the prize for best film on social issues went to Assamese ‘Anunaad-the Resonance’. Telugu blockbuster ‘RRR’, which won six awards, saw M M Keeravani share the best music direction award with Devi Sri Prasad for ‘Pushpa’.

Asked about films releasing theatrically in 2022 winning the awards for 2021, Neerja Sekhar, I&B additional secretary, said, “As per regulations, the eligible films were certified and released from 1st January 2021 to December 31, 2021.”

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New Delhi: Hindi feature film ‘Rocketry: The Nambi Effect’ was adjudged best feature film in the National Awards 2021 announced on Thursday.

Allu Arjun, Alia Bhatt and Kriti Sanon won top acting honours for their roles in ‘Pushpa: The Rise (Part I)’, ‘Gangubai Kathiawadi’ and ‘Mimi’ respectively. Pankaj Tripathi won the award for best supporting actor for ‘Mimi’. Shoojit Sircar’s biopic ‘Sardar Udham’ won the award for best Hindi film as well as honours for best cinematography, audiography (re-recording final mixing), production design and costume design.

‘RRR’, directed by S S Rajamouli, won six awards including best popular film providing wholesome entertainment, best male playback singer to Kalabhairava, special effects, action director and choreography.

Sanjay Leela Bhansali’s biopic ‘Gangubai Kathiawadi’ was a close second with five awards. While Alia Bhatt won best actress, Bhansali won the award for best editing and screenplay writer (adapted), both jointly with Utkarshini Vashishtha.

Shreya Ghoshal won the best female playback award for her song ‘Mayava Chaayavaa’ for the film ‘Iravin Ninzhal’. The best original screenplay award, meanwhile, went to Malayalam film ‘Nayattu’ and its writer Shahi Kabir.

“They didn't let me be a ‘Miss’ and nobody made me a ‘Mrs’,” says actor Alia Bhatt’s character in an iconic scene from ‘Gangubai Kathiawadi’ in which she discards a written speech, calls for a chair onstage, sits on it, takes off her shades, looks the world in the eye and delivers an impromptu heartfelt talk. For channelling a 1950s’ Kamathipura sex worker with nuanced dignity, Bhatt—the white-swathed leading lady of the Sanjay Leela Bhansali movie—won a Black Lady for best actor in a leading role (female) at the 68th Hyundai Filmfare Awards 2023 with Maharashtra Tourism held at BKC’s Jio World Convention Centre on Thursday. The widely-acclaimed biopic was the undisputed queen of the evening, earning several trophies, including best film and best director for Bhansali.

Rajkummar Rao took home the best actor in a leading role (male) award for his meticulous portrayal of agay man in a sham marriage in director Harshvardhan Kulkarni’s heartfelt dramedy ‘Badhaai Do’.

The ceremony aptly began with the national anthem and Maharashtra’s minister of tourism, Mangal Prabhat Lodha, along with Amruta Fadnavis, wife of deputy chief minister Devendra Fadnavis, lit the inaugural lamp.

“Maharashtra was always the film capital of India. To provide further momentum to the state to sustain its reign as film capital in the future, we are going to launch a single window system for movies soon,” said Lodha.

The ceremony, which marked the debut of Salman Khan as host and presenter at Filmfare Awards, packed enough of his signature moments to power an imaginary post-credits sequence in which the onstage actor gives his onscreen self a run for his box office collection.

Six days after the release of his latest flick ‘Kisi Ka Bhai Kisiki Jaan’, Khan replicated the dance moves in the song ‘Naiyo Lagda’ from the film. Mike in a bracelet-clad hand, tongue in cheek and eyes on the prize, he was at his witty best with co-hosts Ayushmann Khurrana and Maniesh Paul.

“Without them, actors would be ‘nirvastra’ (uncovered),” said Khan while introducing the nominees for best costume design. “You understand ‘nirvastra’?” Khan asked Paul. “Yes sir, I have been ‘nirvastra' on many occasions,” came the reply.

Amid a sea of stars on the red carpet, actor Sanjay Mishra—who won the best actor (critics’ award) for his portrayal of a debt-ridden pensioner in the film ‘Vadh’—stood out with his silver beard and sunglasses.

Here, heads turned when statuesque models in cocktail gowns and glam ghagras posed for cameras and bobbed when music composer Anu Malik, who was flanked by his two daughters, broke into spontaneous Govinda and Salman numbers on cue. “Oonchi hai building. . . ,” Malik sang, snapping his fingers.

The whistles and cheers that ensued in the wake of each of the evening’s powerhouse performers—Vicky Kaushal, Govinda, Tiger Shroff, Janhvi Kapoor and Jacqueline Fernandez—matched cinema halls playing films starring the evening’s superstar host.

Those who dropped in early caught a sneak peek of Shroff’s parkour moves as he leapt off the stage and onto a mattress on the floor several times over.

The highlight reel included octogenarian actor Prem Chopra—the leading villain of many a Hindi film from the ’60s—winning the Lifetime Achievement award. “Prem. Prem naam hai mera. Prem Chopra,” said Chopra, reminiscing his iconic line.

The 68th Filmfare Awards 2023 is presented by Hyundai Motor India as the Title Partner, Destination Partner Maharashtra Tourism, Co-presented by Vimal Elaichi.

From working as a video cassette delivery boy in Mumbai to becoming a well-known filmmaker in the country, Madhur Bhandarkar’s journey has been an eventful one. The National Award-winning filmmaker, known for films like Traffic Signal, Chandni Bar, Corporate, Page 3 and Fashion, talks about how theatrical releases and OTT can coexist.

Bhandarkar, whose recent projects like India Lockdown and Babli Bouncer were OTT releases, says that while it is more challenging now to draw audiences to theatres, he doesn’t believe that they will stop craving for the big screen experience.

He shares, “Yeh main saalon se sun raha hun ki audiences might stop going to theatres. Lekin woh magic jo hai — the joy of watching a film on the big screen with our family or friends while having popcorn, that is unmatched. I am a very positive person; I believe that theatrical releases and OTT content can happily co-exist – theatres toh rahenge.”

Madhur adds, “However, during the Coronavirus pandemic, our audiences were exposed to good regional cinema, excellent foreign films and series on OTT. Now, they think twice about whether a film is worth watching in theatres. Also, when a film releases in theatres now, bahut log yeh sochte hain ki ek mahine ke baad toh OTT pe aa he jayegi film, toh tab dekh lenge. So, it is a big challenge and it’s not like filmmakers are facing this issue only in India, it’s happening across the globe. But this is a temporary phase and I don’t believe that audiences will stop going to theatres.”

Bhandarkar admits that the going has been tough for Bollywood in the last couple of years. He says, “If we talk about the last two years, yeh sach hai ki Hindi film industry uss tarah nahi chal rahi hai, jis tarah chalni chahiye. Not too many films have worked at the box office but at the same time, films like Pathaan, Drishyam 2, Gangubai Kathiawadi and The Kashmir Files have been successful.”

When asked about films from south making it big across the country and even globally, he tells us, “Films like KGF - Chapter 2, RRR, Pushpa: The Rise - Part 01 and Kantara did so well because there was a lot of focus on good writing. I am an independent filmmaker and a very small part of the Hindi film industry. However, I feel that we need to give more importance to writers and invest in them. Original writing pe dhyan dena chahiye.”

Talking about the ongoing trend of Bollywood focusing a lot on remakes of south as well as Hollywood films, Bhandarkar says, “I have made 15 films so far and I have always focused on original content. I love researching for my films. However, a lot of producers want to play safe and so, they opt for remakes. When they approach actors with a remake, toh actor ko lagta hai ki film already English/regional language mein hit hai, toh 70% safe hai.”

Even before Gangubai Kathiawadi (2022) came his way, Shantanu Maheshwari was a TV star in his own right. The Sanjay Leela Bhansali film, however, evoked in him the hunger to be a part of interesting stories. This pursuit has now led him to Netflix’s upcoming series, Tooth Pari: When Love Bites, which revolves around the unlikely romance between a dentist and vampire. In conversation with mid-day, the actor shares his initial skepticism about the world of vampires, and how director Pratim Dasgupta allayed his fears.

Edited excerpts from the interview.

I was not aware of this world because I hadn’t seen any of the Twilight films when Tooth Pari was offered to me. I was not a fan of fantasy fiction. I knew that people have tried to remake Twilight or something along those lines on [Indian] television, but they didn’t sustain for long. When they roped me in, I thought that the show would be something like Twilight. It’s only when I read the synopsis that it felt like a different approach.

I had just finished shooting for Gangubai Kathiawadi [2022] at that time. I had worked with Sanjay [Leela Bhansali] sir, so I was ready to work with anyone. He was happy with my work, which gave me a bit of confidence. The actors are all so humble and collaborative. Having been in the industry for long, they are secure in their craft. It was fun to understand their process. They were happy to express what they liked in [my performance] and how we can up the scene.

He doesn’t give you many instructions; he wants you to get in the skin of the character, and then he tweaks it. He gives you your space to perform unless you go off track. Pratim [Dasgupta] sir is easy-going, he believed in me from the beginning and I am not used to that [laughs]. Most of them are skeptical whether I can pull off a role. I take it up as a challenge to prove people wrong. Pratim sir knew I was his Dr Roy. I bombarded him with questions [to get clarity] about my character, and he answered them patiently; he was always receptive to [suggestions].

 

You can’t plan Sanjay sir for your debut film [laughs]. You can only make [informed] choices from the opportunities coming your way. The only thing I’ve strategized in my career is [the decision] of not doing daily soaps, especially the saas-bahu dramas. I got many offers, but felt I didn’t fit the bill. I didn’t want to do anything for just the money.

There is no [dancing] in this show. In my earlier projects, I said no to dancing if I felt that the character doesn’t need it. I don’t have a problem not dancing. People have the perception that the audience may not accept [a non-dancing Maheshwari], but if the maker is convinced that I can portray the character, we don’t need to use such gimmicks. I don’t think Pratim sir knew of my dancing background.

Shantanu Maheshwari is aware of what it takes to network and make a mark for oneself in films. But, the actor says he would rather focus on his craft than socialise.

“When Gangubai Kathiawadi (2022) released, I got advice like, ‘You need to go for film parties’. I think people were just surprised, and kind of shocked, that I finally got a chance,” he smiles.

The actor, who has done shows such as Dil Dosti Dance and Medically Yours as well as a number of music videos, adds, “I’m seeing a lot of good emotions around me. Hence, my focus is my work. People are more open to offering me roles, they are seeing me in a different light. It’s overwhelming! Kehte hain na, der aaye, durust aaye!”

As someone who has worked across mediums, does he feel the web is where actors taste success relatively more than the big screen? Maheshwari says it’s debatable, and goes on to add, “For me, if the story is good, the medium doesn’t make a difference. Somewhere or the other, if the emotions are right, it just connects.”

The actor turned 32 recently. For an artiste, every passing year is crucial, considering it dictates the kind of roles they get. Is that something which concerns him?

“I believe as long as I am fit and healthy, it (age) is just a number. I know there are a lot of people who think, ‘Oh, I am growing old’. But, what I feel is, if I am able to do what I was able to do two or three years ago, I am more than happy. I don’t stress about my age,” he says.

“OTT ki aaj ki date mein himmat nahi hai, Tandav ke baad sab dar gaye hain,” Anurag Kashyap said recently while responding to a query on Sacred Games Season 3. At least three criminal cases were filed against Tandav’s cast and crew, citing disruption of religious harmony. Tandav isn’t the only one. In recent years, series such as Mirzapur and Trial By Fire or films like Gangubai Kathiawadi and Samrat Prithviraj were also dragged to court over complaints.

Lawyers who have represented these films and series say that until a decade ago, film litigation was mostly limited to international studios claiming copyright infringement, but now – from defamation to ‘hurt sentiments’ – almost every other film is being dragged to court over an endless list of complaints. An expert legal team has now become crucial for a film/web series and their legal budgets have also gone up. We spoke to a few lawyers to understand this scenario.

Ruby Singh Ahuja, senior partner, Karanjawala & Co, who was involved in litigation related to Jolly LLB, Tandav and Mirzapur, says, “Filmmaking involves huge expenditure and no filmmaker can afford a prohibition order on the telecast of the film, especially in today’s day and age when the shelf life of a film is relatively short.”

“To avoid unnecessary litigation it is common not only for in-house legal teams to review the script, but also for production houses to take advice from external counsel, especially when it comes to issues of defamation or infringement of copyright,” she adds.

Meghana Chandorkar, partner, TMT Law Practice, says, “Depending on the film’s budget and other factors, the portion that is attributed to the legal team on board could be anywhere between 3-10% of the film’s budget. Roughly, legal team budgets have increased by 100-200% over the years.”

Pritika Kumar, founder, Cornellia Chambers, adds, “The legal budget of a film depends on the overall budget of the production and the studio involved and can range from 1 lakh to 12 lakh or more.”

Chandrima Mitra, partner, Media and Entertainment Practice, DSK Legal, says, “Film litigation has almost become a means of publicity. The bigger the film or the stars involved, the higher the chances of claims and litigation. Unfortunately, for many, it’s like getting their five minutes of fame. Besides, it’s easy to send notice to anyone. The instances of frivolous litigations have increased significantly over the years and most of these litigations get filed in the last two weeks before the release of the film.”

Pritika Kumar, founder, Cornellia Chambers, says, “Earlier, cases were usually filed for copyright infringement, especially by foreign studios where Hollywood movies were being remade in India without acquiring their rights. Now, with the advent of OTT, content has become bolder and so there has been a rise in litigation against movies for hurting cultural and religious sentiments. Filmmakers are also filing more cases because they are starting to understand the value of their intellectual property and the consequences of its exploitation.”

Meghana Chandorkar shares that legal teams are involved in the process from the stages of ideation to until the final cut of the film is ready. “The legal team reviews the concept, story, character descriptions, dialogues and the entire script as far as possible to assess the originality or identify and assist with the acquisition of all required third-party rights. They also carry out a risk analysis of the script,” she adds.

“After the script is cleared, the legal team is also consulted during the production process, with queries pertaining to the use of third-party content, music, clearances, use of brands and names, depiction of emblems, and revision of dialogues, script deviations and changes, etc. The legal team also watches the edited film to highlight issues, non-compliances, censorship violations, etc,” Meghana further says.

“Vetting scripts and content has become a crucial function of legal teams. Most big studios and OTT platforms have in-house teams to carry out this function, while some engage external legal counsel for this work. Vetting allows one to gauge the likely legal risks involved and the legal and creative teams work together to create solutions to reduce the legal risks while also maintaining the authenticity of the production,” says Pritika Kumar.

Netflix's viewing engagement in India grew by 30%, and revenue grew by 25% last year, said Ted Sarandos, Co-CEO, Netflix. In a conversation with Anupama Chopra, Founder & Editor, Film Companion, Sarandos spoke about growth in India, the focus on more local content and taking Indian cinema global. Edited excerpts:

Four years ago, Reed spoke at this conference, and post-transition, this is also my first international visit to this conference. It's so good to be here today. The first half of last year was pretty rough, as we got off to a slow start recovering from Covid-19, and we had to navigate a whole lot of uncertainties, including shutting down our operation in Russia, where we had a million subscribers. But in the second half of the year, we really kept moving. I think it speaks to the company we've built, filled with incredibly smart and resilient people. We got singularly focused on reigniting growth and started to focus on content and programming around the world. We even built an ad product from scratch in six months that worked worldwide. We started with hits like Stranger Things Season 4 and rolled into big global phenomena like Wednesday, with back-to-back hits from all of our content around the world.

I believe that our original projects are improving every day, and I think it's hit or miss when entering a new market. In my experience, what works in one country may not work in another, and it's essential to be on the ground to understand consumer tastes, culture, industry, and the challenges faced by creators in that country. In India, for example, we noticed a rich cinema culture and a lack of focus on television, which led us to create Sacred Games, our first attempt at combining cinema principles with television. Now, we've produced 100 original projects in India, with 28 of them released just last year, and our upcoming slate of films and series for the next year looks stronger than ever. We've invested heavily in India, not only in production but also in having a local team that understands the local culture, storytellers, and audience. Our team running India is based in India, which gives us a big advantage over companies that try to run India from California and get frustrated early on. Our office in Mumbai has 250 people, and we also have an office in Delhi. All of this allows us to create great content in India.

For me, as Netflix, an absolute measure of success starts with engagement. We ask ourselves, “Do people care enough to spend their viewing time with us?” Do they choose to spend their screen time with us instead of the other options out there? That's why I believe the engagement metric is so important. In India, I've had the best year of our existence. I’m proud to say that the viewing engagement in India grew by 30%, and our revenue grew by 25% last year. This wouldn't have happened if it wasn't tied to that engagement metric. I understand that a lot of measurement around subscriber numbers makes for nice headlines, but they're not a real business metric for us. We need to see what's behind that subscriber number. Is there engagement, is there revenue, and is there profit? For Netflix, the answer is yes!

In my opinion, what's truly remarkable about RRR and Gangubai Kathiawadi this year is that they represent an inflection point, a change in distribution or storytelling, or an alteration in audience appetite. Having been in Los Angeles during award season, I can say that RRR and Gangubai were the talk of the town. Everyone was discussing them, and there were 180 movies to watch on the voting site, yet these two were among the most watched, with many viewers discovering them on Netflix. That's the power of Netflix, pushing these movies into the cultural conversation and generating buzz. For many people I know, RRR may have been their first Indian movie, and it took them on a wild journey that left them wanting more. Squid Games did that for Korean content around the world, and again, it was all thanks to Netflix. It's not impossible to have a global hit, but it's very rare, and you need a distribution platform like Netflix and a system of curation that can surface things you may not know you're going to like. That's what we do at Netflix, and it's why RRR has been such an enormous success. The director himself acknowledged as much at the Golden Globes, noting that most people in the world found it on Netflix.

Another film that's worth mentioning is The Elephant Whisperers, which is nominated for Best Short Documentary at the Academy Awards this year. It's our second nomination in the short documentary category, with the first being Period, End of Sentence, which won the Oscar a few years ago. Both films are from India, and I'm proud to see them receiving recognition at such a prestigious event.

Reigniting the growth of our company, we have gotten to think about how there has been a lot of recent discussion about the streaming business. People are openly questioning whether or not this is a good business. Of course, it's a great business because this is what consumers want. The world is moving toward streaming and on-demand, away from linear television, away from pay television, and away from traditional movies.

Let's look at what success means in streaming. I really think there are only three business metrics. Number one is engagement. We clearly lead the way in this area around the world. The second one is revenue, do people pay? And then, because that can be reinvested in more content and more programming, it creates consumer joy. And then the third is profit—is it profitable? And among all of our peers, we are profitable. Our major competitors are not.

The key is that whenever we launched anywhere in the world, the first people who signed up for Netflix were probably western centric in their days, early adopters of technology, had wired broadband at home and a big screen TV and as you get more massy, you need to have more price points. So over the years, we've added multiple price points, we're rolling out an ad tier around the world. And then programming too, becomes a little more than the mainstream, you don't abandon the other program you have, you just add more.

Sanjay Leela Bhansali is known to make films that are mounted on a grand and lavish scale. With his creative vision, he has brought alive stories like Bajirao Mastani and Padmaavat from the pages of history onto the screen. His last outing, Gangubai Kathiawadi, surprised the industry with the kind of numbers it clocked in at the box office, even during a year when many big-starrer films failed to make an impression.

Talking about the changing tastes of the audience and making films in the post-Coronavirus era, Bhansali said, “Any filmmaker who says he knows the audience is living in a fool’s paradise! You never know the audience. You are here because of them. The audience is our mai-baap. The filmmaker should understand himself and he should be able to do the kind of work that the audience doesn’t expect. The filmmaker is the one who needs to go and change the audience. A filmmaker should believe in what he is doing rather than thinking that the audience wants this or that because then it’s like doing mathematics. You just make a film that comes to your heart, you instinctively go ahead and make it... whether people like it or not, you have to be fearless. If it does well, you will be happy, if it doesn’t, you will go into depression, which is good because you will rise again and make another film.”

Elaborating further on how today the audience demands unconventional subjects, Bhansali shares, “Post COVID, everything has changed. I don’t know what people want...People want spectacular films for theatre, and out-of-the-box content for OTT platforms. Filmmakers are now on high alert, they are on guard because now they have to work very hard to present a new treatment, new subject, and he demands more from the actors. So, the idea is that the filmmaker has to believe (in his work), he has to cause the change and not let the audience change you.”

Talking about the kind of research that goes into making his films, he says, “When you are working on a historical, you have to be a little careful. Yes, you need to get your facts right, and that is where my research ends because most of it is imagination. Most of it is how I see the period. I see the architecture, but when I go there, I start dreaming of my own extra pillars, roofs and carpets.”

He adds, “I find research very boring. As a filmmaker, I have not set out to make a documentary that I make something exact. I want my impressions — be it child-like, grownup or heartbroken lovers’ impressions. I feel bored when people say I did a lot of research (for a film). This is my take on it, and they, too, are right in the way they do it.”