Akshay Kumar, who will be seen playing a police officer in Sooryavanshi, joined his reel-life counterparts — the Nashik City Police — at a virtual press conference on Thursday, along with Vishwas Nangare Patil, Commissioner of Police, Nashik, to inaugurate a centralised online health system to monitor the health and fitness of the city’s police personnel.

“It is important to safeguard and protect our frontline workers who work for our safety during these unprecedented times,” said the actor, who recently donated 500 wristbands to the Nashik Police, that help track Coronavirus symptoms. “I have a lot of friends in the police force, and I know how hard they work to keep us safe. This lockdown, in particular, has highlighted how they risk their lives while fulfilling their duties,” he added.

Besides highlighting the work done by police during the pandemic, the actor also spoke about how it feels to return to the set after over two months of lockdown and why it’s important to be cautious during Unlock 1.0.

‘THIS IS WHAT THE NEW NORMAL IS GOING TO LOOK LIKE, ONE HAS TO LEARN TO LIVE WITH THE VIRUS NOW’
Akshay recently returned to the film set, for a public service film shot by R Balki at Kamalistan Studios in Mumbai, with a crew of just 20 people. Sharing his experience of shooting in the ‘new setup’ and environment, Akshay said, “It was exciting to be in front of the camera after such a long time, but it also felt very different. We worked with less than 50 per cent crew. Everyone was wearing masks and nobody came near each other. I was meeting Balki sir after a long time, but we couldn’t hug each other. All this was new, different, and unusual, but this is what the new normal is going to look like. One has to learn to live with the virus now.”

‘WE HAVE TO BE FAR MORE CAUTIOUS NOW’
Akshay also stressed on the fact that while the lockdown has been gradually eased off, one has to continue following the guidelines currently in place. “The cases of positive Coronavirus are increasing during Unlock 1.0, which is why we have to be far more cautious now,” said the actor, adding, “I would urge people to continue working from home, if possible. However, those who must return to work, including myself, must strictly follow the government regulations. We shouldn’t be scared of the virus, but fight it courageously by doing what is necessary — wearing masks, maintaining hygiene, and following social distancing.”

‘STAYING FIT IS THE NEED OF THE HOUR’
Akshay asserted that staying fit has never been more important. He added, “Nothing is more valuable than staying fit and healthy. I have always believed in the mantra, health is wealth. Washing your hands, and wearing masks will give you the added protection if you’re fit from inside.”

Director R Balki on his reunion with Akshay Kumar for an awareness campaign at Kamalistan Studio
Himesh Mankad (MUMBAI MIRROR; May 26, 2020)

On Monday, Akshay Kumar stepped out of his house during the lockdown to shoot for a Coronavirus awareness campaign at Mumbai’s Kamalistan Studio. R Balki, the director, and he have previously collaborated on the 2018 social-drama, Pad Man. The short ad film is to promote positive behavioral changes for hygiene and related practices in the fight against coronavirus.

“Akshay arrived on time, abided by all the formalities required and completed the shoot within an hour before heading back home. He wore a mask throughout, practiced social distancing and kept himself protected. The team shot with requisite permissions from the Mumbai Police and the Municipal Corporation and followed all the guidelines,” revealed a source close to the development.

It was shot with limited crew on the set, with no one allowed to stand close to each other. Every person entering the set had to pass through a disinfection tunnel, get their body temperature taken and hands sanitised, wear a face mask with other protective gear.

It was a village set, with Akshay in a white shirt, slippers and a gamcha. “The idea is to reach out to people in the interiors using Akshay, who is a popular actor,” the source shared.

When Mirror reached out to Balki, the director said, “Akshay and I shot this ad campaign for the Government of India to make people aware of their responsibilities post lockdown. Things might seem difficult, but through this ad we now know what all precautions need to be taken to shoot in the post lockdown era. Our producer Anil Naidu made everything seem so effortless as we all maintained social distancing. The shoot happened smoothly following all hygiene protocols, ensuring minimum crew with maximum efficiency and safety.”
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37-page document calls for medical aid, takeaway-style food and ‘anti-Covid boys’
MUMBAI MIRROR (May 26, 2020)

Almost a week before the Coronavirus-triggered nationwide lockdown came into effect on March 25, film and TV shoots across the country were brought to an abrupt halt. Ever since, there have been multiple discussions around resuming production and protocols that would be required to do so safely.

On Monday, after a virtual interaction with Chief Minister Uddhav Thackeray’s office, the Producers Guild of India issued a set of Standard Operating Procedures (SOPs). The guidelines are to be followed after CMO grants permission to resume production work and shoots. The 37-page document, titled “back to action… cut to: staying safe”, lists ways to establish technical and organisational measures to sidestep the contagion.

KEY POINTS

- Hand-washing and sanitising for everyone at entry, exit points and during shoot

- Triple-layer medical masks and gloves for crew

- Maintaining at least two meters of distance from colleagues

- Studio to be sanitised daily, before the shoot, by an authorised government agency

- Appointing personnel (Anti-Covid Boys) on sets to ensure guidelines are followed

- Daily temperature checks with contactless thermometer

- Two junior-level doctors, one certified nurse to be present on set for three months in different shifts

- An ambulance on stand-by

- All shooting equipment to be disinfected as often as possible

- Individual use-only microphones

- Food to be distributed among crew in take-away boxes, disposable plates, cutlery

- Entire sets to be divided in zones that cannot have more than 15 people at a time

- No movement from one zone to another

- Artistes to remain in rooms until required on set

- Artistes’ staff not allowed on set, except in case of an emergency

- No unnecessary guests or visitors allowed on sets

- Members in violation of safety measures to be removed from production

They are the first from the film industry to go back to a set during this phase, and the director said that they followed the protocol strictly
Rachana Dubey (BOMBAY TIMES; May 26, 2020)

On Monday (May 25), 60 days since the national Coronavirus lockdown was implemented, Akshay Kumar and filmmaker R Balki (who directed him in Pad Man) were present at Kamalistan Studios to shoot a public service film. The shoot, Balki told BT, lasted about four hours and was completed with just a 20-member team.

Balki explained, “Akshay and I shot a public service film for the health ministry, which is about every citizen’s post-lockdown responsibilities. During the shoot, we followed social distancing, and our set was fully sanitised. We also had disinfectant screens, masks... the works. We got used to all this in a few minutes. Anil Naidu, the producer, showed us how we could do the same shoot with fewer people while ensuring maximum safety. Of course, we had all the permissions from the police and other authorities in place, as we needed to shoot this public service film to get this important message across. Also, now we know first-hand, what we need to do if we have to shoot in the post-lockdown era.”

The team had permission to shoot on May 22, 23 and 25. However, the actual shoot took place on Monday (May 25) and was wrapped up by noon. Ashok Dubey from the Federation of Western India Cine Employees (FWICE) said, “The team followed all the precautionary measures, and even shared the visuals with us to keep us informed.”

Producer Anil Naidu said, “We shot with three lightmen, three crew members working on the setting, a DOP with two assistants and two people to assist the director and a few others. It was a very tight crew. Akshay came dressed from his home for the shoot. Since it was an early morning shoot, we had food packets and fruits for everyone. We had informed the crew in advance that there will be no catering on the sets. We also had a doctor and had set up a disinfectant tunnel. We gave everyone masks, sanitised the set thoroughly and maintained social distance at all times.”

As told to Natasha Coutinho (MUMBAI MIRROR; June 18, 2019)

For my first job, I performed a 20-minute musical skit at Pragati Maidan, a trade fair centre, in Delhi. It was directed by Roshan Abbas and was about a couple getting married. I was in first year of college back then and was paid Rs 10,000 for a week, which was big money for me and I opened my bank account with it. I had only done school plays before that.

After that I did anchoring jobs that got me some extra pocket money. As an emcee for corporate events and in shopping mall set-ups, I would be put in weird situations and had to handle the crowds well, but I was getting paid a lot of money for it. I also did print ads in Delhi and was paid Rs 3000 for my photograph that appeared in a soap ad. It was the first ever close-up photo I had seen of myself with makeup on.

I moved to Mumbai with all the money I had saved up and some portfolio pictures. I happened to meet (writer-editor) Apurva Asrani who used to work with Sony Music then. He auditioned me, and I landed two music videos, “Tera Mera Pyaar” sung by Kumar Sanu, and Shreya Ghoshal’s “Yeh Kya Hua”, as they were looking for a new face. I got paid just Rs five-10 thousand for the videos, but I started getting work after that in Mumbai. I also featured in a Kailash Kher video and did many more.

With the first two videos, I was facing the camera for the first time and was clueless. “Tera Mera Pyaar” was shot at Fame Adlabs theatre. For the second video, a massive set was put up at Kamalistan studio. I had never seen a set from inside before that. I was so fascinated, it felt like I had entered a Ramayana kind of a set-up with the pond, swans and trees. There was a point in the video where my pallu comes off and the male model and I come closer. I was so shy, in my head it was a big thing. I freaked out but Apurva was very sweet, he told me it would look beautiful onscreen. I kept fretting… what if it looked too sexy? What would my family say? Now, Apurva and I laugh about it.

Initially, my mum was worried that I was in Mumbai alone, but she was always supportive. When I was without work, she wondered what my next job would be and ask me, “How long do you plan to do this?”

Before I landed The Lunchbox, I did theatre for four years. Ads were getting me the money, but they weren’t getting me experience as an actor. I started watching plays and figured out the kind of work and people I wanted to be associated with. Soon, I got two plays, Damages and All About Women, and won a Best Actress award at a youth theatre festival for the former. I was thrilled; I couldn’t believe I’d won an award for my first play. In Damages I acted with Ali Fazal, while I got a lot of love for All About Women and did maximum shows. Another one, called Baghdad Wedding, also did well.

It was the plays that led Ritesh Batra (The Lunchbox director) to me. He was in India to cast for his film and later told me that he had seen some of my plays before he met me. The rest, as they say, is history.


A still from the song ‘Tera Mera Pyaar’

Prakash Shetty of MP Canteen; Vitthal Shetty, seen here with sons Ashok and Sudhir, has been managing the Filmistaan Canteen since 1962

Tales from privately-owned canteens in studios that have stood the test of time and trends
Kunal Guha (MUMBAI MIRROR; December 21, 2018)

Prakash Shetty was only 12 when he took over from his ailing father to manage MP Canteen, nestled inside Mehboob Studios. A regular patron from his early days of managing the canteen was a geriatric who would resign to a corner of the modest eatery and consume endless cups of chai while scanning through a script. Noticing that the senior was always absorbed in reading, Prakash ensured that he wasn’t bothered and would instruct his waiters to refill his tea at regular intervals. “It was only when I watched Saaransh that I recognised the ‘old man’ from my canteen. He was actually a young Anupam Kher in makeup,” chuckles the 49-year-old manager. “His makeup and body language were so immaculate, I actually thought he was an old man.”

Prakash’s establishment is among a handful of privately-owned canteens that have survived the test of time and trends. While some folded up organically when studios shrunk in size (Filmalaya Studios), others went out of business when studios turned into commercial spaces (Natraj Studios). But running to capacity post-lunch hour, M P Canteen seems barely threatened by extinction.

Sitting at a table that overlooks the wall where a majestic portrait of the studio’s founder Mehboob Khan hangs, he reflects on better times. “Earlier, the entire film crew would eat here. But now, everyone gets a caterer to lay out a spread next to the film set,” sighs the manager, who has also been catering for shoots for the last 20 years. “If people get meals for free, why would they come here and pay for them?” he asks.

Prakash’s loyal patrons who still order in while shooting at the studio, include actors Hrithik Roshan, Deepika Padukone, Sanjay Dutt and Salman Khan. A big draw for most happens to be the canteen’s famed misal pav which is prepared using the same mixture of freshly-ground spices for 45 years by the canteen’s cook Krishna Shetty. “Abhishek (Bachchan) loves our misal fry served with toasted pav. Once he even got his friends, including Boman Irani, to try it,” he beams. The Khan brothers, Salman, Arbaaz and Sohail, prefer the other much-revered dish, egg bhurji with pav, while Hrithik Roshan loves feasting on his eight-slice bread omelette. “Hrithik loves our bread omelette so much that he used to parcel a couple of servings for home,” remembers Prakash, adding he hasn’t come by in a while.

While it’s difficult picturing Bollywood stars sharing modest meals with the rest of the crew today, some canteens served as social equalisers. Vitthal Shetty, 85, who has been managing the Filmistan Canteen since 1962, remembers Jackie Shroff, Shakti Kapoor and Shashi Kapoor getting off their cars and strolling right into the kitchen to help themselves to whatever was being cooked — rice, dal fry, fish fry or even idli-dosa. Shashi was his most demanding patron at the time and each time the actor was to shoot at the studio, Vitthal had to source a dish that wasn’t on the menu. “He loved his clear chicken soup and we always ensured he got a bowl by the end of the day,” says the veteran, who shifted to Mumbai at the age of 35 from his native Manchakal in the Udupi district of Karnataka.

Today, he is succeeded by his sons, Ashok (57) and Sudhir (47), but having helmed the canteen for 56 years, has kept himself abreast with the turns in the film industry. “Back then, Manoj Kumar, Dev Anand, Raj Kapoor and many big stars would just roam around the studio between takes and often drop in for a cup of tea. No one had bodyguards, and no one would bother them either. But now, all actors get off their cars and rush into their vanity vans,” says Vitthal, adding that some like Amitabh Bachchan and Sridevi would send for their meals to be picked up to have in their makeup room. “If Sridevi was shooting in the studio, we knew we had to make our special Mangalorean fish curry which she loved the most.” Bangda fry was another speciality. It was such a hot-seller that they “would make the dish 365 days in a year”.

Another canteen manager who has been in the business for 42 years is V P Ali, who has manned the canteen at Kamalistan Studios since 1974. Ali struggles to get by today as the sharp drop in the number of shootings at the studio have taken a toll on his business. But in his heydays, he cracked 22 eggs at a go to whip up a generous serving of bhurji-pav for Salman. “Jeetendra loved kanda bhajiya while Suneil Shetty relished our dal fry. But business slowed down in the mid-90s.”

Ali remembers films like Razia Sultan, Desh Premi, Inteqam, Khuda Gawah which were shot at the studio when he was a one-man show — the cook and the cashier. “At the time, the studio was abutting a jungle and there was nothing available nearby. So, I had to build a stock of essentials as running out of ingredients would leave me in the lurch,” he says.

Despite their intrinsic relationship with films, most canteen managers admit having little interest in cinema. The only time Vitthal Shetty walked into a shoot was when Pakeezah resumed shooting after a 12-year-gap. Even Prakash Shetty rarely left the cashier’s counter, but he did drop in to watch the filming of a song featuring his favourite actress Madhuri Dixit. “I don’t remember the film, but the set was a mandir. Madhuri nailed the song in a single take,” he smiles.

BOMBAY TIMES (March 2, 2015)

Ankur Pathak (MUMBAI MIRROR; September 23, 2014)

On Monday morning, Mirror spotted the ensemble cast of Anees Bazmee's Welcome Back shooting for the film in Kamal Amrohi Studio aka Kamalistan in Jogeshwari.

Anil Kapoor, Nana Patekar, Paresh Rawal, Dimple Kapadia, John Abraham and Shruti Haasan, were spotted. The cast gathered on the film's set at 9 am and continued shooting till 6 pm. When contacted director Anees Bazmee told Mirror, "Despite the heat, nobody complained. The scene, John and Shruti's engagement, is crucial for the film's plot. Everybody gathers for the occasion, but things go drastically wrong." However, there was no friction in real life . "I've directed all of them in the past. They had to stand on a particular spot for hours under the sun, yet nobody complained. When you are making a comedy, it's important to keep your cast happy," said Bazmee who does not want to rush into theatres this year even though producer, Firoz Nadiadwala, would like a Christmas release. Eighty per cent of the film's shoot is complete with one final schedule in Dubai pending.

Asira Tarannum (MID-DAY; September 19, 2014)

Anees Bazmee’s film, Welcome Back, is being shot in Dubai and an important sequence was supposed to be shot there this week. But sources say that the makers will now shoot it here in Mumbai at Kamalistan studio. It turns out that the makers wanted a huge open space to construct the sets, not to mention a lot of junior artistes for this action scene.

That apart, given that this is an outdoor shoot, the weather in Dubai was apparently proving to be a problem. A source close to the production house says, “The action sequence was supposed to be shot in Dubai from September 22 to 25, but they will now shoot it in Kamalistan studio. The set is already being constructed there. In Dubai, a huge space was not available for the makers to construct a set for the action scene, and the director did not want to compromise on the look of the film. Also, the scene required a lot of junior artistes and the weather right now in Dubai is not helping. It is very hot there, so the makers decided to shoot in Mumbai.”

The source adds that after shooting this sequence, the film’s unit will return to Dubai on September 26 to finish the rest of the shoot.

Director Anees Bazmee remained unavailable for comment.

Mehul S Thakkar (MUMBAI MIRROR; January 9, 2014)

Farah Khan has gone to great lengths to keep her multi-starrer caper Happy New Year under wraps. But Mirror lensman Raju Shelar captured the entire star cast, including Shah Rukh Khan, Deepika Padukone, Sonu Sood, Boman Irani and Abhishek Bachchan, in a rather eye-watering combination of neon hues, sequins and pink shoes, filming a dance at Kamalistan on Wednesday afternoon. A source from the production told Mirror, “All the actors have been rehearsing for this song sequence for the past one month. A hall was booked in a city studio where Farah (director Farah Khan) trained her actors regularly. Since there are a lot of acrobatic moves and Farah wants to shoot it in a stylized manner a lot of rehearsals were needed before the camera rolled.” The source added that the song composed by Vishal-Shekhar will be shot over 10 days on a huge set in Kamalistan Studio. More than 2000 dancers are there along with the stars. “Deepika’s pink costume has been designed by Manish Malhotra. The pink shoes made some of the actors reluctant but once in front of the camera they submitted," adds the source.