He made the idea of conversations over coffee cool, glam and irresistible. What brewed on his chat show Koffee With Karan (KWK), was hotter than the hamper and more addictive than the cuppa coffee. Over the last two decades, some of the flavours have changed, some of the goss has been tossed, but the stars still spill enough beans to give you that stimulating blend.

On International Koffee Day (blame KJo for the K), Karan Johar talks about the coffee drinking culture and the vibe around it – on and off the show.

I remember once being reprimanded by an English teacher who bumped into me, and she said, “Thanks to you, all my students write coffee with a K!” And this was in that phase of my life when I thought K was my lucky alphabet. I remember the point when I was thinking what I should call my talk show. I wanted the show to be about friends coming together, chatting candidly and just off the cuff. Nothing loaded, nothing heavy. And I thought, that’s what you do when you have coffee with friends. So, that’s where it all began. Back then, at one point, people would see me and start screaming coffee, coffee... and I had to tell them, my name is not coffee, I am not a beverage!

I’ll tell you what happened – in the first couple of seasons, the stars had no filters, because there was no social media going crazy online and everything was not like a click bait headline. And then, I could tell that slowly with every season, the stars became more guarded. So, then I made my show more gamey and fun, where you could see them at least dropping their guard as cool people, even if they weren’t disclosing their personal opinions. I don’t blame them for not opening up, because they were afraid of a PR nightmare, and I understand that because today, we have to watch our P’s and Q’s when we talk, and our thoughts are racing ahead of our words.

In 2000, I hosted two segments of an award show for the first time, and back then, it was an unusual choice for a filmmaker to be a host. Then, I did it the next year, and the year after that for other awards shows. And in the interim, just on a whim I got this idea about doing a chat show. I was always a huge fan of Phool Khile Hain Gulshan Gulshan hosted by Tabassum and Rendezvous with Simi Garewal. I believe that both these illustrious ladies are the real OGs, and they are responsible for the talk show culture in our country. I came in much later, but I’d like to believe that I did it my way.

The younger generation, while they may be more energetic, are more careful. They’re far more guided by their publicists and strategy management teams. I don’t blame anyone. Everyone’s guided to say the right thing and to come across in the right way. But there is a generation before them that is so pure and organic, and there is a generation even before them who don’t have any filters because they don’t fear consequences. They’ve achieved enough in life. It’s the new generation that are building their careers, and they fear consequences. They are living in a social media generation, where nothing they say can go unheard or unnoticed. At times, it gets blown out of proportion and you become a headline.

You know, it can be good and bad. People who are really close to me, know me for the person I am. But there are many who form an opinion of me after seeing the show. They think you are this bi***y, gossipy person. But what you are doing is playing a part of the drama, and it’s for fun. And that’s not all that I am doing. I am simultaneously contributing to the arts and cinema. Somehow, I am stuck with a lot of perception problems. I feel that people perceive me in a certain way because of the part I have played as a talk show host. Not all of me is what’s on the show. The perceptive people can see through the surface glamour, but there are many who can’t do that.

Well, during most of my sessions with my therapist I have had coffee, and some of those have been life-changing in many ways and there is no shame in saying that. Many of us seek help, I call it urban angst where we are living in cities, surrounded by noise of all kinds, virtual and literal. Many of us feel the need to express our emotions in the confines of a space, where you feel safe. In many such sessions, I have had coffee, so I guess I have had about 20 such life changing conversations over coffee.

Karan gave up coffee for a few years. He reveals, “At one point in my life, I just gave up drinking coffee. When I would shoot for KWK, I would drink nimbu paani or just water. Eventually, I went back to coffee. I had a mannat, and I wanted to give up something I really liked. So, every time I have to give up something I really like, it’s always coffee.”

Conversations over coffee often make you break boundaries and barriers with people. I think some great conversations have happened over coffee in real life as well. Coffee also gives you that skip in your step kind of energy. I love my coffee, though I am not addicted to it

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Some episodes in the last season were intense, and we got mixed reactions, like some said this is not really KWK. But my reaction to that was, your coffee also has to keep changing, your cup of coffee can’t always be steamy. It can’t always be served the way you want it

Monika Rawal Kukreja (HINDUSTAN TIMES; February 21, 2020)

It has been a year since the period drama Kalank released and tanked at the box office. But it seems that filmmaker Karan Johar is still not over the failure of his much-touted production. As he readies to direct his next big film, Takht — yet another period drama — Karan assures that he “won’t repeat the mistakes” he made in the past.

Readily taking all the onus of Kalank’s failure, the filmmaker says, “Whenever a film fails, you can always say that a group makes it, so everyone is equally responsible. But, being the most senior member of that group in terms of the creative crew guiding that ship, if it failed, I’d take complete responsibility as it was my failure more than anyone else’s.”

Directed by Abhishek Varman, Kalank starred popular actors Sanjay Dutt, Madhuri Dixit Nene, Varun Dhawan, and Alia Bhatt, among others. Karan asserts that besides reflecting upon one’s failure, it’s important to acknowledge the failure (in front of the public), and “more important to acknowledge why we failed”.

Given that Kalank was closest to Karan’s heart as it was his father, late Yash Johar’s dream project, he admits that he got a little carried away with its execution. “I’m the reason Kalank failed because I took the film into directions it should not have gone to. I could have guided it into the right zone; made it in a better way and encouraged the director to do well on his own,” says Karan adding that he had full faith in Abhishek.

“He’s an exceptionally talented filmmaker who has worked very hard to achieve the visuals and storytelling of Kalank, but it failed. I really failed the director and I told him that it’s not his failure as much as it’s mine and I hope we can go beyond this with the next film we do together. I hope we can erase the failure,” says the filmmaker who directed a horror anthology, Ghost Stories, for an OTT platform, earlier this year.

However, not regretting even for once that he made Kalank, Karan insists that come what may, he would “never erase” the memories of the film. “A lot of love and passion went into the making of that film and one can’t dilute that. There are people who will respect certain parts of that film with time,” says Karan sounding hopeful.

Besides Kalank, quite a few big budget films haven’t done well at the box office over the last couple of years, case in point being Tubelight, Zero and Thugs of Hindostan (all 2018). Karan feels it’s just a matter of time and things won’t remain this way, always. “Right now, when a massive mammoth budget film fails, there’s so much emphasis on the money lost and the industry makes a big deal about it. Also, it takes away from the core passion that went into the storytelling. So, I hope we all can redeem ourselves, soon.”

Karan Johar on fulfilling late father Yash Johar’s dream with this national honour and not letting past skirmishes with film folk get in the way of work
Roshmila Bhattacharya (MUMBAI MIRROR; January 29, 2020)

What was your first reaction to the Padma Shri?
I was shocked! I was trying to call my mother to speak to my kids while scouting for locations for Takht in a forest in Italy but couldn’t get through. I walked around exasperatedly in search of reception when suddenly, the phone rang. I don’t usually answer calls from unknown numbers but thank God I answered this one. It was from the ministry. I couldn’t believe this was happening to me. I managed to thank them but after the call ended, I went numb. I was standing there alone, when this news dropped. I called my mother despite the terrible network. She broke down when I told her I’d got the Padma Shri.

It must have been an emotional moment for her…
For both of us. When Kuch Kuch Hota Hai bagged a National Award (for Best Popular Film Providing Wholesome Entertainment) in 1998, we got the call at home and my father (late producer Yash Johar) turned to me, saying, “Ek din main chahta hoon tu Padma Shri jeete.” I’d protested then, saying I was too young to know where my life would go and asking him not to give me this kind of stress. But papa reiterated it, saying it was his desire, and while he knew he would not win it in his lifetime, he wanted his son to get it one day. My mamma reminded me of that conversation. It’s the fourth most prestigious civilian award in the country and my heart is bursting with pride. A national honour brings a little more responsibility which I am willing to shoulder.

Did you feel your father’s presence that day?
I always believe that when you lose a parent, you gain God. Every night, I talk to my father like I am praying. I tell him about my fears, excitement and reservations. I have a conversation with him every day and that day, too, I told him, “Papa, we did it together.” Just as I made my father proud, I hope my kids will make me proud one day.

In a career replete with awards, did you ever feel that this one was overdue?
There’s a right time for success, achievements and accolades. There is no award that you should have received. If you didn’t get it earlier, maybe it was because you didn’t deserve it. Maybe I don’t deserve this today, but it has come my way and I should be grateful for it and protect its sanctity.

Controversies have already cropped up about Adnan Sami also being given the honour...
We are a democratic country, so everyone is entitled to their opinion. But Adnan has contributed strongly to the music industry and we must respect the authorities for honouring him.

Ekta Kapoor, a fellow filmmaker and a close friend, has also been honoured with the Padma Shri…
It’s bizarre how our journeys are almost karmically connected. Both our career highs happened at the same time—mine with KKHH and hers with Kyunki...Saas Bhi Kabhi Bahu Thi—both of us are Geminis, single parents and have named our sons after our fathers. Now, we will receive the Padma Shri on the same day.

And Kangana Ranaut as well…
So much has been said about Kangana, me and some kind of rivalry or simmering tension. But at every public event we’ve met, we’ve greeted each other graciously. Whatever may have been said or insinuated in print, I think I’m too old and wise to hold any kind of malice in my heart for anybody. As a filmmaker, I respect Kangana’s talent, craft, and what she brings to the table. She is an actor who has proved her mettle and is deserving of the honour. Besides Ekta and Adnan Sami, I am honoured to receive the Padma Shri alongside Kangana.

Can we hope to see the two of you collaborate on a project?
Years ago, a lot was said about Anurag Kashyap and me in print. But when Kurbaan was being made and Rensil (D’Silva, director) told me Anurag was the best person to write the dialogue, I called him up. He was surprised but I felt if he is the best for the job, we should get him. A lot too was written about Ram Gopal Varma and me, but I rang him up for the title Bhoot and in one second, Ramu said, “Take it, Karan.” He was so large-hearted, I respect him for that. Tomorrow, if I have a film for which I need Kangana, I will pick up the phone and call her. Whatever the problem, whatever may have been said on social media, is irrelevant to me. I’m a filmmaker and she’s an artiste and no amount of personal bias should come in the way of that relationship. I believe in that and will stand by it.

Buzz is, you are returning as a director in March.
Yes, I start Takht, my most ambitious project, in March. I did recce in India and Europe all through January. I’m excited about the content and terribly nervous about the execution. I can’t wait for this ensemble cast to come together.

And when is Brahmastra arriving?
You will hear about the release date of Brahmastra Part 1 very soon.

Have you simultaneously been working on Part 2 and 3?
Yes, Ayan has got the structure of both parts ready and the writing material is firmly in place. He has been working on it every single day since the last five years. It’s his brainchild completely and has got terrific support from the cast, including Ranbir (Kapoor), Alia (Bhatt) and Mr (Amitabh) Bachchan, who have worked tirelessly. For five years, I have seen the boy struggle and create something that Indian cinema has never seen.

The only thing Shah Rukh Khan shot for last year was a cameo in Brahmastra...
I don’t want to reveal his role but Ayan, Ranbir, Alia and I will be eternally grateful to him for coming on board with his vision and inputs. The energy Shah Rukh Khan brings with him when he walks on to a film set is unparalleled.

What is it like, as a producer, to nurture talented young directors like Anurag Singh (Kesari) and Raj Mehta (Good Newwz)?
I’m proud of the fact that we have introduced so many first-time filmmakers amid all the nepotism talk. Out of nearly 20 filmmakers, 16-17 are from outside of film families and have been given an opportunity to create something special. I have then leveraged these opportunities. Our next film, Bhoot: The Haunted Ship, is directed by Bhanu, while Colin D’Cunha is making Dostana 2; both debutants. Shershaah is Vishnuvardhan’s first Hindi film. We are proud that as a film company, we extend opportunities to not just actors but technicians, too. As a producer, I can tell so many stories and cover so many genres. It’s a great run into a new decade.

How does it feel to go on the floors with the Dostana sequel, 12 years after the original?
We struggled for a decade but couldn’t come up with an idea for Dostana 2. Finally, Somen Mishra, our project development head, cracked it, and we decided to go ahead with it. To put a No 2 next to a title is always a big responsibility and I didn’t want to come up with a sequel till we had a story to tell and now we do. It’s a young, brave film; a film that tells it like it is.

Meanwhile, you took Fighter on the floors last week…
We are yet to give the film a title, but I am excited to work with Puri Jaggannadh and Vijay Deverakonda on a fun script. We aim to make it a pan-India film in every way. A Baahubali has brought the crossover phenomenon to India. The idea now is to get stories from all over the country under one big umbrella of Indian cinema. The mantra at our production house now is high-content or big-event films.

Monika Rawal Kukreja (HINDUSTAN TIMES; January 19, 2020)

With a lineage of films that mostly include romantic dramas and commercial potboilers, one won’t really expect Karan Johar to step on to uncharted grounds. Yet, he has done it time and again with films such as Dostana, My Name is Khan, Kalank or even his latest anthology, Ghost Stories. In a candid chat, Karan talks about why there’s a constant need to step out of the comfort zone and how the web empowers writers that in turn empowers content in cinema, too.

You’ve directed as well as produced content on the web. What’s it about this space that you find to be most intriguing?
For storytellers and content creators, it’s a Renaissance period. The digital space is just exploding, and tremendous content is coming out on various platforms. The web is empowering writers, and I’m glad because we needed to be empowered. Web content is driven by writers, and the moment they’re empowered, they’re more motivated, and therefore, are writing even better feature films. So, this explosion digitally has also empowered content in cinema.

Your production, Drive (2019), didn’t fare well. Do you regret releasing it on an OTT platform?
The initial plan was to release it theatrically, but then I realised the way the content has gone, it would be better for it to be on a digital format. And it was very brave of the OTT platform also to take the leap along with me. There are thousands of stories being told, so, sometimes you need to shake up and break the clutter with certain decisions. That’s what we did with a film like Drive. I’m not speaking about the film because that’s for people to judge.

Your latest outing, Ghost Stories, is a genre that audience wouldn’t relate to the brand Karan Johar. While directing it, how much did you personally connect with it?
Horror and I don’t connect at all, and very honestly, they’ll not happen again. This is my first and only horror story that I’ve made for Netflix. It’s not a genre that I enjoy watching, so why should I enjoy making it?

So, was it more of a challenge?
Yes, because I felt like this gives me the ability to be out of my comfort zone and tell a story being uncomfortable. I think every filmmaker should be, at one point, uncomfortable to tell a story because that challenges their core directorial spirit. So, making this horror anthology has been the most challenging schedule in my 21-year-long journey.

Why don’t we see many anthology films releasing in a theatre?
It’s a format much attuned for the digital zone because we, in cinema, are very used to the syntax of storytelling — an escalated drama, a mid-point where you come out, chat about it and go back. Here, we have four narratives, four stories that start and stop one after the other that you’re more likely to watch in your private space. What’s great about anthology is that it gets you to chat about each film and also you compare them with each other.

Karan Johar's debut and one of India's most enjoyed love stories turned 21 last week, catching social media's fancy. About time, we thought, we ask the maker of a film that gave Bollywood its biggest director, for a sincere post-mortem
Abhishek Mande Bhot (MID-DAY; October 27, 2019)

In a world of what-ifs, Kuch Kuch Hota Hai would've never got made. Or if it had, it wouldn't have been made under Dharma Productions. While the Yash Johar-run firm had some interesting movies under its belt - Dostana (1980), Gumrah (1993) and the National Award-winning box office disaster Agneepath (1990) - it remained a mid-list production firm that, safe to say, wouldn't have survived post-liberalisation India.

The debut vehicle of Johar's son, Karan, changed that. For the first time ever, Dharma had landed itself a blockbuster. Kuch Kuch Hota Hai released in 1998, on the same day as Bade Miyan Chote Miyan. Twenty one years later, this last week, KKHH trended online and unleashed a wave of nostalgia, while the Amitabh Bachchan-Govinda starrer was forgotten.

The '90s were defined by a handful of movies - the machismo of Ghayal and Agneepath (1990) made way for the importance of family values in a fast-changing India with Hum Aapke Hain Koun (1994) and Dilwale Dulhaniya Le Jayenge (1995) before, finally, introducing us to Rahul Khanna who wore snug tees, chains that spelt c-o-o-l and had girls drool. How that was possible is a question we can only ask in hindsight.

Karan Johar is the first to admit it. "Rahul doesn't stand for very much. He's a deeply confused character, doesn't know what he wants and, really, didn't do a lot much in the movie. Whatever happened to him was because there were people pushing him - his dead wife's spirit, his eight-year-old daughter, and Anjali herself. What made him endearing was his charm, his large heart and Shah Rukh's personal charisma."

Johar confesses that the ethics and politics of the movie were all wrong. "There was no logic or backstory to the characters. You don't know what Shah Rukh, or anyone else, does for a living in the movie. And the eight letters - one for each birthday - made no sense, either."

He was 24 when he wrote these characters. He hadn't studied film and was driven by a passion for larger-than-life cinema that bordered on melodrama. "Growing up, I saw my mother play Hindi film songs - everything from Rafi and Kishore Kumar to Geeta and Guru Dutt. KKHH was a homage to all the movies I grew up watching - everything from Kabhi Kabhie and Bobby to Silsila."

His influences have since changed. If Bollywood was his primary point of reference in adolescence, now he makes a conscious effort to engage with regional cinema as well as international digital shows. After this interview, he is set to meet Tamil filmmaker Vetri Maaran whose films Asuran and Vada Chennai are among those he recommends.

"I'm also a fan of Atlee's [Kumar, Tamil director] work; I loved Bigil," he says, "And I watch everything in the Telugu commercial space." Lately, Johar has also been watching The Family Man, The Loudest Voice and Fleabag.

"But my sensibilities changed because I surrounded myself with newer and younger energies. I became more democratic and began practising an open-door policy; that helped me understand where I was going wrong and act on it," he says, "I also became more comfortable in my own skin and stopped comparing myself and my work with others." Johar says he could see these influences working on him as early as the time he was making Kal Ho Naa Ho.

"Saif [Ali Khan] was apprehensive of playing Rohit Patel. I had to tell him that it wasn't a sign of weakness but rather quite the opposite. I explained that a man who can stand by someone he loves while knowing she loves someone else is a strong person. It's not what makes him weak but human." The role would put Saif's career on the fast track, making him a bankable star. Incidentally, Saif had turned down a similar role just a few years earlier—Aman Mehra in Kuch Kuch Hota Hai.

The conscious effort to stay relevant also helped Johar create stronger women in Ae Dil Hai Mushkil, his last major feature film that critics count as among his 'most grown-up movie yet'. Here, Anushka Sharma's Alizeh continues to rebuff Ranbir Kapoor's advances till the very end. If KKHH's whiny Rahul earned sympathy, Ae Dil's Ayan (Kapoor) earned a fair amount of criticism. "I didn't know how else to end the movie," Johar says, "I wanted the film to have that arc." At the end, it was Alizeh to whom your heart went out. In some ways, the two movies bookend Johar's directorial career so far.

Johar says today's Rahul would be someone who's more assured and strong. "I'd give him a spine and more EQ [emotional quotient]. I'd also introduce more confrontation. Rahul, today, would be able to have an open conversation with Anjali. He'll know that she likes him and he'd address that with her. If Tina were to die, he'd come to terms with his feelings for Anjali and go back to her, not sit moping."

There's a scene in KKHH where Rahul learns of Anjali's impending wedding and taunts her. She, in turn, refuses to confront him and walks away. "That's not how I'd written the scene. In my original draft, Anjali tears into Rahul and calls him out. She says he doesn't know how to stand up for himself. I threw out the scene because I thought it would cause a disservice to my leading man. Today, I'd keep it. Because now I understand, it's what would make them more human. More real."

Meena Iyer (DNA; June 3, 2019)

The nice thing about Karan Johar is that he is as candid about his failure as he is about his success. When asked whether he broke down after the no-show of Kalank, the filmmaker explained how he couldn’t afford to. Read in his own words how he made his setback his strength.

What happens when a film from your banner (Dharma Productions) fails?
Success and failure are something you have to learn to deal with. I am very clear that when you have a success, you have to meet it with relief. But then, you have to move on to the next thing. You can’t celebrate that success; you cannot analyse it. As far as failure is concerned, you have to contemplate and you have to learn. There is always a reason why you fail. Post Kalank that is what I did. I reasoned with it, I contemplated it. My director Abhishek Varman and I sat down and we analysed where we fumbled. I have to be involved with each film Dharma produces, because I am not just the producer, I am the creative producer.

To me, when Kalank fails, it is my failure. I’m the older one, I’m the wiser one. I’m the more knowledgeable person about what works and what doesn’t. If the film has faltered, it is largely my responsibility and my blame. Of course, no one person can take the blame, but I choose to because I felt that the material was something I was aware of for not one year but 15 years. It was a film that was close to my heart and perhaps that is the reason why I lost a certain objectivity. I failed the movie by not being the right governing force. And this taught me so much. There are two ways I could have gone about this. I could have sunk in this failure or I could have questioned, ‘Why?’ Or I could have said, ‘Why did this happen and let me learn from this.’ Let this be a new 2.0 feeling where I am a lot more analytical. I am putting my projects through a lot more trials and tribulations before it is out there to an audience. When you fail and learn from it, that to me is a success. I will never look at Kalank as a failure. I will look at it as a success because it has taught me how not to fail like this.

Hits and flops aside, do you have meltdowns sometimes?
Let me say, I cannot be the one who has a breakdown. I hold the Dharma (company and family) together. I am the driving force of Dharma. I am someone who everyone in the company looks at. When everyone looks at you and you crumble, then you spread that energy across the company.

There was not a single point after Kalank when I had a breakdown, meltdown or low moment, whatever you want to term it. I was like—we have to take this positively; we have to emerge on top from this. I have a strong and talented team and lots of internal love. I must say here that every cast member of Kalank and the director (Abhishek Varman) were like soldiers. They fought till the very end. Even when they felt they had lost all hope; they took back something solid from the experience. I love that spirit.

You were saying Varun Dhawan is special. Why?
Varun came to me and said, ‘Karan, let’s make this up to the audience and to the studio which backed us. Let us, the same team get together and make it up to them by giving them a winner. Let us not get cowed down by this failure. Instead let us move on to something more positive.’ I have humongous respect for Varun. Tell me, how many lead actors will do something like this? How many actors will walk into the room of the producer and not blame him or her for the failure? Alia Bhatt, Sanjay Dutt, Madhuri Dixit, Sonakshi Sinha, Aditya Roy Kapur…all of them called me with only love and respect. They said, ‘We stand by the film.’ No one called with the feeling, ‘Why did this happen to us?’ They were all like, ‘No, this has happened. Now, let us make sure we will rise above this.’ The spirit of the cast and crew is what gratified me. I am happy that the people I have surrounded myself with are strong, happy and positive. I have learnt from this whole experience.

Why do you keep taking the blame for Kalank?
I will never go through a phase of delusion where I will blame the audience. If a film fails, it is my fault, it is our fault. I am the older one and I have to be the wiser one. I shouldn’t be making mistakes. Let me say this. All of us are allowed to have interpretational errors in cinema. We may interpret a subject matter in such a way that may not go into your liking. Or your thinking. But when you make a colossal film, you cannot go wrong. That means there was something we didn’t look at initially and closely. And I take that responsibility. I told the director, there is no one person to blame. And, if there is, then please hold me responsible. I should have been much more vigilant.


(Clockwise from top left) Varun Dhawan, Alia Bhatt, Aditya Roy Kapur, Sonakshi Sinha, Sanjay Dutt and Madhuri Dixit

Meena Iyer (DNA; May 30, 2019)

There is a slight change in the schedule of Karan Johar’s next directorial, Takht. Before he left for his birthday break to New York, the acclaimed filmmaker had told us that the movie will kick-start towards the end of 2019. However, now some trade sources say that Takht could be mounted early next year. And, the reason for this is simple.

Before he embarks on the journey of the magnum opus that stars seven top actors — Anil Kapoor, Kareena Kapoor Khan, Ranveer Singh, Alia Bhatt, Vicky Kaushal, Bhumi Pednekar and Janhvi Kapoor — KJo wants to fine-comb the prep. He wants every strand in place before he goes on set. He tells us more about the film…

Is Takht your most ambitious venture?
Yes. It is scary. I was in a prep meeting with all the teams and suddenly they said, ‘Karan, you are looking a bit stressed.’ I told them I was feeling anxious. Each time I think of the scope of work that needs to be done, I feel intimidated. It is daunting and huge. It is challenging but also exhilarating. I’ve never made a period film and I want to do my interpretation of that world and syntax. I know period dramas have been attempted and achieved in Indian cinema. There is no point in me doing something that you have seen before. I need to give it my slant, my energy. I am hugely nervous but also excited.

Have people asked you why you are venturing into Sanjay Leela Bhansali’s world?
I have been asked that and other such questions. While I am a huge fan of SLB, as someone who loves his work, I understand that he has set the benchmark already. However, I am hoping that what I do with Takht will be completely individualistic. Takht will have its own energy and charm.

Talking of which, you have probably courted the right energy in getting Ranveer, Alia and Vicky on board…
It is a first for me with Ranveer, Bhumi, Janhvi and Anil ji. The latter has never worked in a Dharma Production. I am so glad that the first time we are collaborating with Anil ji is on a film which I am directing. I have worked with Vicky and Alia before. Kareena has acted in my film Kabhi Khushi Kabhie Gham (2001). However, we will be teaming up after a long gap. I am collaborating with people I love and respect. This, to me, is the best combination. Everyone is working towards making a special motion picture. And that is my biggest endeavour.

So, the movie will go on floors by the end of 2019?
Yes, it will go on floors by the end of this year.


(From L-R) Ranveer Singh, Alia Bhatt, Vicky Kaushal and Kareena Kapoor Khan
Anil Kapoor, Bhumi Pednekar and Janhvi Kapoor

Meena Iyer (DNA; May 25, 2019)

It’s Karan Johar’s 47th birthday today. As reported by After Hrs earlier this week, the blockbuster filmmaker-cum-talk show host has flown to New York to celebrate his big day.

Before he took off, we got our fix of KJo’s magic and mantras. Charismatic as always, he addressed everything from midlife crisis to his anxieties with a candour that is rare and so welcome.

Over to Karan:

First things first, what are your thoughts on turning 47?
There was a point of time when I was very excited about turning 40. I thought it would be a new innings in my life, which in any case it was. So many exciting things have happened to me in my 40s. Like my company (Dharma Productions) has grown, my kids —  Roohi and Yash — came. It has been a new life with my babies; they have changed my 40s around. I thought there would be the advent of a love story. I put the message out into the Universe and it came true through my children. The love that I was seeking in terms of a relationship, which I never had, and the loneliness that I felt is gone. The decision to have my children has changed my 40s around and it has changed my mother’s 70s around. It has transformed the fulcrum of our existence. At 47, I have two emotions. One of excitement that I am heading towards the mid-point of my life. There is so much I have to achieve before I turn 50. And the second is anxiety. Sometimes, I feel I have lesser and lesser time with my babies with whom I have the best love story going on.

But do you have any thoughts about ageing too? 
There are some thoughts. When I started dressing in a certain way two years ago, I suddenly realised that what I was actually going through was a midlife crisis. I realised I was growing older, so suddenly a lot of colour came into my wardrobe. All the hipster clothes, which maybe I am too old for, came. I don’t care what others think. I am happy with the colours and designs. There are many thoughts in my head — fear, anxiety, excitement and acceptance of my midlife crisis.

However, no outward signs of your midlife crisis are showing?
Well, I just felt I should do everything that I have wanted to do. At a certain point in my life, I may not be able to pull some of this off. If I feel like pouting to my camera, I do just that. There is a lot of abandon. With wisdom comes abandon and there is a certain carefree spirit in my demeanour. I have accepted how I am and I’m not apologetic about it.


Karan Johar with his wax replica at Madame Tussauds in Singapore

Karan, the seven years since your 40th have seen many highs for you — your book (An Unsuitable Boy), your statue at Madame Tussauds, etc.
I feel fortunate that I have been given a platform to achieve my dreams (making the films I want) and also fulfill some of my hobbies. I have done everything that I love. I love fashion, so I have dabbled in it. I like the idea of being a talk show host and I have that going on for the last 14 years. I love walking on red carpets across the world and I have done that. I have always wanted to tell my story and I did that in my book. I was excited to be at Madame Tussauds because I said, ‘Heck, why not a filmmaker? Why do only actors have to have all the glory?’ I’m happy I’m there. Everything I have always wanted to do cinematically and in my hobbies, I have been able to do in my 40s. I feel blessed. It has opened my plethora of dreams and I feel happy that I achieved most. Now, I feel I have to create new dreams and set new benchmarks. I am hugely excited about what can come beyond this year, beyond 47.

Is there a part two to An Unsuitable Boy?
Yes, there is. I have spoken to Poonam Saxena (my co-author), Shobhaa De and my publisher at Penguin who were with me on my first book. I will definitely do another one. But not immediately. There is so much more to talk about, but I will wait a few years. As I expressed earlier, there’s a lot to address like my fears and anxieties. My babies, who have brought a new aura and energy into my life, will feature in part two of An Unsuitable Boy.

You have a new office closer to your home?
Yes, I do because that way I can spend more time with the babies. Besides this office in Andheri, I also have one in Bandra for my digital work. I have made some structural changes around my professional routine so that I can give my kids the maximum time. I am also blessed to have a mother who is completely hands on. She is there for me and my babies 24/7. This makes me feel peaceful and happy. Instead of making Roohi and Yash work around my schedule, I have been a good parent and worked my schedule around them. That way I can maximise my time around them.


His kids — Roohi and Yash (left) and his style is always on point

Is Roohi more possessive about you?
No. I am only trying to get her attention. I have to chase her to give me a hug and a kiss. On the other hand, each time my son spots me, he flashes a big smile and welcomes me with open arms. Only a parent can understand what that feels like. He gives me all the hugs and kisses I crave for. When I walk into the room, Yash runs into my arms. What happens in my heart at that time is something I cannot describe in words. Barring your own children, who else meets you with so much excitement? I’m always running behind Roohi, who is totally her grandmom’s girl. She calls my mother, ‘Mamma’. My son is interested in me and Roohi is interested in my mother. So, we have our balance right.

Finally, what’s with the grey showing at the temples? Is it deliberate?
No! It’s my hair colour that has let me down (laughs).


Karan with his mother Hiroo Johar and his twins, Yash and Roohi