Showing posts with label Kill. Show all posts
Showing posts with label Kill. Show all posts
I have never had a 100 crore film. But I am among the most successful producers-Guneet Monga
5:07 PM
Anshul Chaturvedi (BOMBAY TIMES; April 23, 2026)
The focus on cinema is often divided between the flamboyance of the faces we see on screen and the creative minds behind it – the directors, the lyricists, screenwriters, musicians, cinematographers, etc. But the credit that rolls out last – that of the producer – is not usually as fascinating for those of us who write on, or read about, the world of cinema. Logistics, finance, permissions – where’s the romance or the flamboyance in that, eh?
Guneet Monga, as the only Indian producer so far, to hold an Oscar in her firm grip, forces you to rethink that. The self-taught go-getter of a girl who left Delhi for Bombay, heartbroken, in her early 20s, having lost both parents. The hustler par excellence who feels she just took ahead the school prefect confidence. The daughter who today feels she is closer than ever to her parents, who attributes all her swag and her mindset of abundance to the core beliefs that her dad instilled in her. The production geek who understands the global business of cinema and thinks India has barely scratched the surface. The daughter-in-law who today wants to spoil her mother-in-law in the way she couldn’t spoil her mother. Guneet’s trajectory and life are as filmy as it gets. Read on:
Describe your learning curve to becoming the first Indian Oscar-winning producer.
I began working in films very, very early. Meri pehli internship thi 2004 mein with Anureeta Sehgal, joh meri best friend ki mother hain, for Valley Of Flowers. It was a Pan Nalin (whose Chhello Show went to Oscar) film. Subsequently, poora liaison ka kaam main karti thi. End to end – from equipment to ministry. I built a bond with American, French, Italian producers. I used to get Rs. 2 lakh per week at that time in dollars. Logistics did not scare me. Maybe because I was a prefect in school – we used to put up large scale events and wohi core of leadership ban gaya tha.
I was flown to Ladakh for my first film. It was August 15, 2004. Meri life ka itna bada high tha. But I had just spent a couple of days when I got a call ki mummy ko cancer nikla. And so, the very next day, I had to come back. Maybe, if I had stayed for that shoot, had been on set, my life journey would have been in another direction. But because I came back and then I handled all the logistics of the film from Delhi, it kind of defined my life, I constantly took on producer roles.
My mother passed away in 2008. It was a four-year journey. I was with her throughout. She was pushing me to go to Bombay. My friends were all in FTII, SRFTI, Jamia for post-graduation. Mujhe lekin course nahi karna tha, mujhe paise kamane thay, ghar khareedna tha parents ke liye. They were living in a rented place (after having to leave father’s family house in very difficult circumstances).
I learnt on the job. I did a lot of freelance international work. I was also a location scout; I was hired for one year by the producer of The Lord Of The Rings, Tim Sanders. I had to go pan-India and find locations for a sci-fi film that was supposed to star Johnny Depp. That film never happened. But it built me many contacts. I became somebody who was a very integral part of any film setting up in India. I was often the first one hired and then the line producers.
I worked on a Canadian TV film, Murder Unveiled, directed by Vic Sarin. After wrapping that film, Vic Sarin landed back in Delhi to work on a project of his own – Partition. He asked me to run the film as his line producer and assistant. Sarin empowered me to take charge. I learned a lot.
After post-graduation, my friends were moving to Bombay, and my mother also wanted me to go. So I went, but har weekend flight le ke ghar aati thi kyunki main dollars mein weekly kamati thi. I did this for one year. And then she got better and life was good.
The cancer relapsed in 2008. And it got very bad. She passed away in July. I had barely come to grips with that when, very unexpectedly, dad had a sudden heart attack in February 2009. And so I lost them both in six months.
When she was dying, my mother used to talk to me, she also knew Dad was very unwell. She would say tu kya karegi humare baad, tu maasi ke paas chali jaana. And I would say bakwaas mat karo, kuch hoga hi nahi. I was delusional.
My maasi herself lost her 21-year-old son three months after my mom’s death. So it was July, my mom; November, my cousin; February, my father. My maasi went into depression. Mummy ka grand plan tha ki maasi will be your guardian after we are no more, but that never happened.
How did you recover?
I have lived through so much personal tragedy in my twenties, so much. Insaan khatam ho sakta hai uss se. But it was my dad’s resilience and joy that kept me going. Money has come to me easily; kabhi paise ke liye kaam nahi kiya, kabhi nahi. I have never negotiated and I have always gotten in abundance, because it is my dad’s mindset. Main apne kaam se bahut pyaar karti hoon, toh mujhe kaam karna hai. Paisa, they will manage, the universe will manage.
Tabhi main itne logon ki anxiety handle kar paati thi as a producer kyunki mujhe anxiety nahi hoti thi... because of my dad.
Then I moved to Bombay and sought work. I just had to stay occupied to keep my mental sanity. I was interviewed by Ekta Kapoor for Balaji. They asked me what I was expecting and I said it doesn’t matter, give me Rs. 25,000, I just need to keep busy. They were very surprised but didn’t say anything. But when the first cheque came, it was for Rs. 1,25,000.
And then, I worked with Anurag Kashyap. I went to school basically working with Kashyap. Six years, I was his producing partner. Gangs Of Wasseypur, Shaitan, Shahid... Bahut saari filmein banayi with AKFPL (Anurag Kashyap’s production house). I learnt how you make a good script better. How do you add value on content? What is good writing, what is good material, what do you take back, how do you impact?
Kashyap said meri picturien international hain, so yeh meri life ka mission ho gaya – to find international platforms for them. Main 40-40 ghante ki flight lekar kahin bhi pahuch jaati thi to pitch for a film. I have lived in Paris with no money in Pan Nalin’s house for almost a month to be able to pitch my films, get sales agents, build the word – and then they got selected in Cannes. That is the role of a producer, Kashyap used to tell me. So, I was like okay, I’ll do it. Like that, karte karte bahut travel kiya, har film festival gayi.
Today I stand at a career where I have had 9 film premieres at Cannes, 16-17 films in Toronto, 3-4 in Sundance, 4 in Venice, 4 Oscar nominations for my films, 2 wins. And this whole international vocabulary that I built was because Kashyap used to tell me to go out and figure how we can sell our films. In my 20s, I was able to do that.
Jab The Lunchbox release ki Karan Johar ne, and following him, I learnt marketing. Suddenly I became an intern. I have a beautiful relationship with Karan. He is a friend, a mentor; he does not even realize ki itna kuch life lesson sikha ke chala jaata hai. He is one person who has never made me feel like I am young. He has treated me like an equal. Karan is an absolute cinephile. I feel he has a talk show and an image in the janta, but like Kashyap, he is an absolute cinephile. Knows about history of cinema like no one else. When you travel, you understand how films are distributed around the world. And it is amazing. And we have not even scratched the surface of it.
Why would you say that? We read about record-breaking overseas collections fairly often, don’t we?
The numbers are not comparable. In 2000, Crouching Tiger Hidden Dragon made like 300 million dollars. Humne 30 million nahi cross kiye hain. Abhi Dhurandhar ke kya latest stats hue honge – 30-35 million. Aur usse pehle everything is about 24 million. We have not cracked global distribution – because global distribution is above 100 million, 200 million, 300 million. There is a conscious effort in how distribution is done. Hum log sirf diaspora ko distribute karte hain.
So now I am a producing geek. I know so much about global business, about worldwide business. I have innovated distribution in The Lunchbox and in Kill. Kill became Lionsgate’s first-ever acquisition for India. Sony Pictures Classic had bought The Lunchbox. These are not diaspora sales. These are all A-list sales. Kill released in a thousand screens in US. These are all huge things in our industry to pull off. John Wick’s director Chad Stahelski has acquired the remake of Kill.
These are the things I have done, I have been able to propel IPs on, and that is my joy as a producer. We got invested in by Jio in February, so I have built a production company of value that got invested in. They took 50% of Sikhya and so, we were able to encash these years of mehnat. To be able to make that level of business where you are doing a merger with a company... and I feel I just got started at 42.
Doubts, criticism, pressure?
Gurbani mein Kabir ji ke kuch dohe hain jinko sun kar mere dwar khul gaye. A lot of things about criticism, about what someone said, who is unhappy with you, who you have to impress – it stopped affecting me. A lot of brain cells get damaged in sorting ki saamne wala kya bol raha hai. So it was actually taking your own power back from the world and being sure of what you are doing. And you need that, because we are in such a subjective industry. When you are making a film, har koi aa kar bolta hai ki bakwaas hai. Ya log kehte hain ‘mujhe samajh aa gayi, pata nahi logo ko aayegi ki nahi’ – this is classic. Art is so subjective. And then today, validation lies only in the box office.
As in crossing 100 crores, and so on?
To be honest, I have never had a 100 crore film. But I am among the most successful producers. In India, if you have a 100 crore film, you have validation. But if I have made a film in 15 crore and I have made 30 crore from it, I am very high ROI and I am very successful. Aur maine yeh therapy mein bhi seekha. Otherwise, you make it to the front pages basis this. Jisne 100 cr kamaya woh accha hai. Jisne 500 cr kamaya woh bahut hi acchha hai. Acche bure mein farak aaj hum paison se dekh rahe hain... Where have we led ourselves?
Mere saath to aaj tak aisa hua nahi. Hoga ek din, main banana chahti hoon ek film jo itne paise kamaye. Lekin mera jitna access tha maine uss dayere mein kaam kiya. Mera access first-time directors thay. Mera access younger actors hai. I work with people who want to work with me. So I have never waited in the line for validation or for bigger access – ki yeh actor yes bolega tabhi yeh picture banegi.
Does production need you to be hardheaded as a professional, distinct from the clearly sentimental, emotional individual persona?
No, I am not hardheaded. I am just clear. I’ve learnt to have clear conversations. Because we are dealing with bad situations all the time. We are dealing with unfulfilled dreams all the time. When you are making a film, aap ka director, aap ka actor, kuch bhi bol sakta hai. You are constantly dealing with expectation management.
I have never been fascinated by vanity. And that comes from my dad. Because I have been able to hold my own. ‘This is how we will shoot. This is how we will do it. This is what you will expect. This the time it will start, this is the time it will end’ – very clear conversations. I have just decided to be clear. Because we are always negotiating.
But when you take off the producer’s cap, are you not inherently a much more sentimental, softer person?
Yeah, yeah... even at work. I am from the heart. But the brain is practical, towards the money. That combination makes me a good producer, I believe. Because you need a lot of empathy to be a producer.
Itne gaane nahi afford kar sakte... uski shoot nahi afford kar sakte... yeh nahi kar sakte.. itne halls mein release ho jaaye... articles chhap jaayein... sab ko sab kuch chahiye hota hai. Everyday is expectation management. Every day!
I pray for clarity. I only pray for clarity. Otherwise, there is no end. Your skill set is specific to the cinema industry, but at the core of what you do is the approach, the self-belief, for which you give all credit to your father. Your differentiator, to me, is your execution and mindset. Yes, it is the execution.
But you see, when someone like that, like my father, says ki aap kabhi bhookhe nai soge, bindaas raho – toh bahut stress khatam ho jaata hai. Aisi-aisi cheezein sikhai hain na papa ne mere... Ki kabhi paise khatam ho rahe ho na, toh saare kharch kar dena. Bachana mat. Mann nahi maarna. Kyunki maine tumhe itna padhaya hai. Tum kuch bhi kar sakte ho. You will be able to fend for yourself.
That taught me abundance. That taught me my relation with money – it was never of scarcity. And that is why I could do what I did. My mindset is very different. Every penny on the screen – it should be the best version.
That mindset took us forward. Producer ka ek mindset ho jata hai – jo de rahe ho, thoda kam de do, thoda kam spend kar do. Woh hai hi nai, bachapan se hai hi nai. (Pauses) Bas yeh regret raha hai... Mummy kabhi India se bahar nahi gayi thi. Unko duniya dikhani thi. Venice film festival mein mujhe kamra mila thaa joh samundar pe khulta thaa. And I was asking myself, main yeh kya duniya dekh rahi hoon? And my parents can’t see it.
That is my angst. Which will always stay.
PART 2:
The story of Say Salaam India: Rs. 75 lakh, 27 volunteers on bikes, and 350 shows
Guneet started her journey as a production coordinator in Delhi for many international films before turning producer. She recounts the story of one of her initial films that tested her commitment to the profession and her level of hustling
Maine Delhi mein bahut international films ki thi. Mere neighbour, Kamlesh Aggarwal, ek din aaye with a business idea: ‘Newborn babies ki videos bana kar parents ko bechenge.’ I asked him, aap kitne paise lagana chahte ho ismein? He said 50 lakh. I said, bahut waahiyat idea hai. Instead, aap mujhe 50 lakh de do, main Bombay ja kar film banaungi. I was 22-23, and had only seen Bombay on a school trip.
Since I used to work on international films in Delhi, I knew the light vendors in Bombay – at that time Delhi didn’t have the big lights, toh main Bombay se mangwati thi. So the light vendors, gaffers – woh sab mere dost thay.
I started asking them, kisi writer–director ko jante ho? Mere paas 50 lakh hai, main film banana chahti hoon. Food court mein meri ye meetings hoti thi. Unhone mujhe kuch ADs, writers, directors se milwaya. Some thought they could con me. But I was like – ‘No. I’m from Delhi. I know better.’ (Laughs) Dilli ka khoon hai. Jugaad 101.
Then I met the wonderful Subhash Kapoor, who is also from Delhi. He has now made films and shows like Jolly LLB, Maharani. Unki pehli film thi – Say Salaam India. He told me the story – it was a classic underdog story. Very Jo Jeeta Wohi Sikandar. This was in 2006 and 2007 mein World Cup tha. We were thinking hum kitne amazing hai, 2006 mein film bana kar 2007 mein World Cup ke dauran release karenge.
So I had 50 lakh, Subhash ji had 50 lakh. The film’s budget was 1.5 crore, so we both raised 25 lakh each. We made the film with Milind Soman, Sanjay Suri, Shweta Nigam – lots of amazing actors. That was my first feature film as a producer. We were also able to raise marketing money because there was a lot of surrogate marketing with World Cup.
Then in the Group stage India lost the first match. People were furious, matlab putle jalne lag gaye. But in the next match they made some 420 runs. They were our heroes again. Meanwhile, my movie was ready for release. Humein kaha ja raha hai – dekho, India pe 2,000 crore lage hain toh haarega nahin. Adlabs came on board to market and distribute the film. Ek independent filmmaker ke liye bahut badi baat thi. Then came the third deciding match to go to the next round – there was so much hype, people were doing hawan, etc. My film was supposed to release the next Friday. And India loses. Phir se putle jal rahe hain. Dil toot gaya hamare desh ka.
Then the cinema halls started calling – ‘Ye dabbe (film reels) wapis le lo, purani picture de do. Agar abhi cricket ki baat kar di na toh log theatre jala denge’.
And I was in shock. I was like – main producer kaise banungi main agar ye paise wapis nahi kar sakti! And, I had actually taken a job for Ghajini. It was very exciting for a young producer. But I had to leave it. I told the producer that I have to go figure out my film. Mujhe paise recover karne hain.
And I came back to Delhi. I went to my school – Bluebells. They used to sometimes take kids for movie screenings for Rs. 50 per student. I told my principal, ‘I have made this beautiful film and it’s for children. Would you please do a paid show with students?’ And she said yes. Then I went to Sapna Cinema, which was behind my house and asked how much do they make from the morning 9 am show. They said Rs. 3,000-5,000. I booked the hall for Rs. 10,000, a 1000 students came to watch the film and the teachers gave me Rs. 50,000 – Rs. 10,000 went to the hall and 40,000 mere. This was the first paid show.
And kids loved the film. I heard a thousand kids jump and celebrate and laugh. And I remember – my parents standing there with a 1000 chocolates – Rs. 5 wali. The principal had great feedback and I asked her for a letter of appreciation. I took it straight to DPS RK Puram – 25,000 kids. The minute DPS RK Puram got on (board), all the DPS of the city got on (board).
And it got overwhelming for me. It took a week to crack one school. So, I went to my college to get student volunteers. I told my principal that I will get all volunteers internship letters from Adlabs studio. So I got interns for the next 2–2.5 months – 27 boys on bikes. They’d all come to my house in the morning, mummy aloo parantha banati thi, then they would go to different schools. There was one day when there were 50 shows in Delhi simultaneously.
Then I went to the offices of Lintas, and told then I have so many shows happening, I will give you the interval, you can bring brands in. Those brands gave me Rs. 10,000 per show. So, per show I increased my revenue. I had my volunteers stand in front of every screening with the audio CDs – Rs. 10 cost, we sold them for Rs. 25 each.
Aise karte-karte 350 shows kiye and we recovered all the money. We did shows in Sonipat, Panipat, Karnal, Chandigarh – school after school. It took nine months of my life. But I gave the money back to Kamlesh ji.
And I became a producer.
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"The journey of a producer is so different and so difficult. I’ll not want to water it down. It is very difficult. Things take two-three years. There is no instant gratification. You are not making a reel. Three years is a long gestation period"
- Guneet Monga
Aryan Khan is the son of the biggest outsider in the industry-Raghav Juyal
9:46 AM
Priyanka Sharma (MID-DAY; September 21, 2025)
Raghav Juyal’s experience in movies spans over a decade, but it is only the last two years that have marked his rise to prominence, thanks to his breakout performance in Kill (2023), his vulnerable and sensitive cop act in Gyaarah Gyaarah (2024), and later, a negative turn in Yudhra (2024). With The B***ds Of Bollywood, the excitement around him has only grown bigger. Days before the show’s première, the actor opened up to mid-day about the frustration he battled while waiting for his work to be released.
“On television, I was a king. I had a house, a car, and I was famous. In some ways, I was a star. But in movies, it was like the struggle of a new job had begun. When I left TV, I knew that I had to be patient to work in films because sometimes it takes years for a film to get made. And then it takes time for the release. I had shot for many projects — Yudhra, Kill, The Ba***ds Of Bollywood — but they were not releasing. I kept giving auditions, but there was a time when I was a little frustrated, thinking what would happen,” he said.
The Ba***ds Of Bollywood, which marks superstar Shah Rukh Khan’s son Aryan Khan’s directorial debut, features Juyal in a prominent role. Much of the primary cast, including Lakshya, Anya Singh, and Sahher Bambba, is young and relatively new to the industry. Working with new energy is naturally comforting for young actors because it makes it easier for them to dissent. But what happens when they know he is a superstar’s son and it is his home production? Did Juyal ever hesitate in disagreeing with Aryan?
“No. I don’t think Aryan ever gave us such a vibe. He has a habit of asking questions. He would ask our point of view. In my opinion, that’s the best way of working because filmmaking is a collaborative process. He has learnt this at home. He has the same etiquette of respecting other artistes that Shah Rukh sir displays. He knows that [everyone] comes with their struggles and experiences,” the actor explained.
Juyal praised Aryan’s vision to make the show both critical about the industry and mass-appealing. Having an extended family outside of Bollywood, Aryan understood the Indian audience, which exists beyond metropolitan cities, the actor said.
“There’s a very homely environment within his family. His diction of Hindi and Urdu is clear. He speaks in English only when needed. That’s why he was able to make a very rooted show with a self-critical lens. We as actors have made a fool of ourselves and poked fun at our own profession. The satire and criticism that Aryan has shown is beautiful. He is the son of the biggest outsider in the industry. He doesn’t have the vibe of a nepo kid. He has made a show for the whole of India, not for the Bandra or South Bombay crowd. Bina khaaye, bina soye, bas kaam karne ka keeda ghar se mila hai,” he said.
Aryan Khan knows about the discomfort of life because of what he went through-Lakshya
9:30 AM
The Ba***ds Of Bollywood actor Lakshya opens up about working with director Aryan Khan on sets
Priyanka Sharma (MID-DAY; September 17, 2025)
"Apne gusse ko paalna seekh,” is not just a dialogue from Sunny Deol’s Ghatak (1996), but a saying that actor Lakshya swears by. He tells us the line stayed with him as he waited years for his film career to take off. Today, time is on his side — he is the lead of Aryan Khan’s maiden directorial venture, The Ba***ds Of Bollywood.
“My life has always been such. Mujhe har cheez rulake milti hai. But I feel if [something comes] quick, it doesn’t last. If you work hard and sincerely on something for a long time, it works out,” says the actor.
Over the last two years, Lakshya and his co-stars Raghav Juyal, Sahher Bambba, and Anya Singh waited for their moment in the sun as they shot for the Netflix series. It wasn’t easy. Lakshya recalls, “People used to say, ‘Tumhara serial kab aayega?’ But we were aware that what we were making would take time. Aryan has taken his time in writing, shooting, and editing it.”
The patience has paid off as The Ba***ds Of Bollywood is the most anticipated OTT show in India right now. All eyes are on the series, and more importantly, on the man behind it. Having worked with Shah Rukh Khan’s elder son, Lakshya says Aryan shattered all the perceptions he had of a star kid.
“You have read about star kids and seen them on pap pages. All of that perception was broken the first day I met him. He speaks and thinks the way Raghav, Anya, Sahher and I do. He speaks in Hindi. He knows about the discomfort of life because of what he went through. So, he was compassionate. He knew we were all outsiders, and was sensitive about where we were coming from. His beard and hair would grow, and he wouldn’t cut it [because he was focused on the show], and then out of the blue, he would cut all his hair. Nothing about him said that he is a star kid. We used to say, ‘Yeh toh humare jaisa ladka hai’.”
Lakshya remembers how respectfully Aryan met his parents at the première of Kill (2023). “He touched my father’s feet. My dad was in awe of him and said, ‘This is Shah Rukh Khan’s son? Tu kabhi mere paer nahin chhoota!’”
What was also noteworthy to Lakshya was the director’s ability to blend with his surroundings. “He can be a star kid with his friends, and then he can become like us as well. He knew both worlds very well.”
Priyanshu Painyuli reveals that he turned down Kill: "After watching Raghav Juyal, I did feel I missed out"
8:28 AM
Vishakha Pandit (HINDUSTAN TIMES; July 2, 2025)
Actor Priyanshu Painyuli regrets missing out the chance to be a part of Kill (2024). “I was approached for the antagonist role, but since I was doing another project, the dates clashed,” says Priyanshu, who recently shot for the series Paan Parda Zarda.
He adds, “The director (Nikhil Nagesh Bhat) had seen my previous work and he had offered me a few roles in the past as well, but things didn’t materialize. When he came to me with this one, we had even started talking and doing readings. But the timing just didn’t work out.” Actor-dancer Raghav Juyal eventually played the part in Kill and was lauded for his performance.
Sharing why he couldn’t make time for it, Priyanshu adds, “The film required a lot of physical training. I was shooting for Pippa (2023), and as the schedule clashed, I had to let it go.”
The 36-year-old admits that it wasn’t an easy decision and the sense of missing out became more palpable when he watched the film on the big screen.
“I was shooting with Tanya Maniktala (actor), who played the lead in Kill. She told me, ‘Go watch it’. I wrapped up the shoot and went straight to the theatre that night. Raghav did a fantastic job. He owned the character and brought something very raw and unpredictable to it. Watching him, I did feel I missed out. When you see someone else doing it well, you don’t feel bad in a bitter way, but it’s like you wanted a toy really badly and you see someone else playing with it,” he ends.
Bedhadak setback was easier as I had already been through the disappointment with Dostana 2-Lakshya
10:36 AM
Onkar Kulkarni (BOMBAY TIMES; February 18, 2025)
After a successful career in television that ran for over half a decade with shows like Porus and Adhuri Kahaani Hamari, Lakshya decided to take a break and explore the big screen. He faced roadblocks along the way - what was supposed to be his big debut, Dostana 2, was shelved after a few days of shooting and his next, Bedhadak, also didn’t take off. But Lakshya didn’t give up, he then went for the big kill. In a chat with us, he talks about his big screen debut Kill, the disappointments he faced at the start and how that’s changed him as a human.
‘There was a point where I thought main hi panauti hoon’
Reflecting on the early setbacks, Lakshya, shares how he handled the challenges. “I believe in Harivansh Rai Bachchan’s lines - ‘Hua toh achcha, na hua toh aur bhi achcha.’ I gave it my best, and I was hopeful and confident. Yes, I faced setbacks, and there was a lot of confusion about what would happen next. However, when Dostana 2 was cancelled, Karan Johar sir called me on the same day to support me. So, taking the setback with Bedhadak was easier because I had already been through the disappointment with Dostana 2. I had prepared myself for it (laughs). There was a point where I thought ki main hi panauti hoon because mere waje se filmay band ho jaati hai. Finally, when I heard the narration for Kill (released last year), I felt a deep sense of excitement. People always talk about patience and perseverance in Bollywood, and it’s true. If you maintain that and give it some time, you’ll eventually get to where you belong,” Lakshya explains.
‘When I was on TV, I became a bit arrogant’
After enjoying popularity as a television actor, when Lakshya struggled in films, the experience only mellowed him down as a human.
The actor who has a bunch of interesting projects coming up shared, “When I was doing TV, I had become a little arrogant. Awareness nahi tha na. Coming from Delhi, getting a show, making money and getting recognized, made me a little full of myself. But the break and setbacks afterward were signs from God, saying, ‘Do you think you’ve arrived? Relax and reflect!’ So, the two rejections I faced helped me shed that arrogance. Also, when you play a king in a show like Porus, you start picking up those traits. While doing TV, I got caught in a loop, and I lost touch with reality. Coming into movies made me realize that there’s much more to achieve, and you’re not everything.”
‘I feel happy when others succeed and move ahead’
He earned praise for his performance in action thriller Kill, and while the film had a slow start at the box office, it later gained traction due to word of mouth and featured international film festivals. The film also featured Raghav Juyal who, too, received a lot of attention for his performance.
Ask him if there was any moment of insecurity or fear of being overshadowed by his co-actor, and he says, “I feel happy when others succeed and move ahead. The more Raghav grows, the more I will too. Everyone has their own destiny. The kind of roles he gets, I won’t get and vice versa. We’re both different as actors. I’m not here to compete. What I really like about him is that he doesn’t take himself too seriously. He’s like water—he just flows. He’s one of my closest friends in the city. During Kill, we only had a few scenes together, but every time he appeared on screen, I’d think, ‘This is some next-level work.’ He had all the funny lines and cool dialogues. I was happy with my own action scenes. My personal favourite in the film is Fani (Rahgav’s character), even more than my own character.”
From 9 pm to 12:30 am and from 5 am to 9 am, I am pushing Anuja-Guneet Monga
8:46 AM
With Anuja shortlisted for the 2025 Oscars, executive producer Guneet Monga on how she is raising funds to ensure that the short film makes it to the nominations
Mohar Basu (MID-DAY; December 29, 2024)
Guneet Monga Kapoor couldn’t have asked for a better end to 2024. Last week, Anuja, a short film on which she serves as the executive producer, made it to the Oscars 2025 shortlist for Best Live Action Short Film. Adam J Graves’ directorial venture explores the harsh reality of child labour in New Delhi. Recalling their association with the project, Achint Jain, Monga’s business partner, starts, “Anuja is not something we greenlit. Adam and Suchitra [Mattai] are first-time filmmakers, and they reached out to us ki ab kahan jayein.”
That is where Monga and Jain stepped in. As executive producers, they raised money and drove the publicity campaign. Monga says, “There was a lot of fundraising, much more than the budget of the film.” But she understands that the bigger journey starts now. How does Monga, who has two Academy wins to her name, plan to ensure the short film earns a place in the nominations?
“Now that it’s shortlisted, we’re working on its future. From 9 pm to 12.30 am, and in the mornings, from 5 am to 9 am, I am making calls, talking to people, pushing Anuja, writing to people, [figuring] the next layer of funding and how we can take it forward, figuring out distribution and which platform to take it to. All our years of experience comes handy on the journey of a short film. We’re really pushing forward to get to the next round. [We’re keeping our] fingers crossed that we get to the nomination.”
The year 2024 was unbelievable for her. We tell her she has a surplus problem between the Oscar shortlist, Yo Yo Honey Singh: Famous, her latest documentary on Honey Singh and the love she garnered earlier in the year for Kill.
“Both Kill and Gyaarah Gyaarah have been so rewarding. They were our big projects this year. With Kill, we just wanted to make an extreme action film. You get these comments along the way: ‘Kaun dekhega? Kaise karenge?’ But we stuck to making it in its purest form. Be it The Lunchbox [2013], Masaan [2015], or The Elephant Whisperers [2022], the idea is just to tell the best story.”
Now, they are looking ahead with confidence and hope. Their next is a film with Ayushmann Khurrana and Sara Ali Khan. Monga says, “We will make a big announcement in January too. India is back with single producers, the producers who have stood the test of time. It’s the time [for] producers to take the call and have faith in their vision. I genuinely feel producers’ work is underestimated here. But now is the time for producers to resurface.”
Logon ko nahin pasand aayi, nahin dekhi, says Raghav Juyal on Yudhra's box office failure
9:47 AM
Akash Bhatnagar (HINDUSTAN TIMES; October 8, 2024)
Actor Raghav Juyal was on a roll with the success of Kill and Gyaarah Gyaarah this year, but his third release — Yudhra — failed to make a mark at the box office.
“Nahin pasand aayi hogi logon ko to nahin gaye honge dekhne. It’s as simple,” the actor says, adding, “If Yudhra had come first, I might’ve been disappointed but people recognized the actor in me with the previous two projects.”
But the 33-year-old asserts that Kill “changed my life completely”. Delving into serious and villainous roles, Juyal made a conscious decision not to do comedy. He explains, “To break an image, you need to do a path-breaking character. TV had also become monotonous for me. I wasn’t getting to try different things and the risk had reduced. It feels good to see that after 14 years people have realized that I am a good actor. It’s difficult to be patient for this long.”
Talking about how patient he has been over the course of his career, he adds how Yudhra was shot during the lockdown, but released after a gap of five years. “So, that time was stressful, just waiting for your films to get released for four-five years and for people to notice that you can act... Some of my art films are still in the box, including one with Ranvir Shorey (actor), a film with Namit Das (actor-singer) and one with Sanjay Mishra (actor),” he signs off.
Zoya Akhtar asks Karan Johar to ‘just stop paying’ high fees to male stars
8:08 AM
HINDUSTAN TIMES (September 25, 2024)
The exorbitant remuneration charged by leading male actors in Bollywood has been a much-discussed issue in recent times, especially after films headlined by A-listers recorded low openings this year. Recently, when director-producer Karan Johar shared his views on the topic, filmmaker Zoya Akhtar highlighted how he has been a part of the problem himself.
KJo insisted on the need for male stars to reassess their remuneration during a directors’ roundtable conducted by The Hollywood Reporter India, when Akhtar interjected him, saying, “They are not going to know. But Karan, you have to just stop paying. That’s it.”
On his part, Johar said that he has stopped the practice now. Recalling how every leading man quoted high prices for starring in this year’s release Kill, he shared, “Every star asked me for the same money that the budget was for. I was like, ‘How can I pay you? When the budget (of the film) is Rs. 40 crore, you’re asking for Rs. 40 crore? Are you guaranteeing the film will do Rs. 120 crore?’ So finally, I took a new boy (actor Lakshya), and he was an ‘outsider,’ I have to say it.”
Our films don't do good campaigns for Oscars-Guneet Monga
8:30 AM
Niharika Lal (BOMBAY TIMES; September 20, 2024)
With The Elephant Whisperers and Period: End of Sentence, Guneet Monga has two Oscar winning productions to her name. In a recent chat with us, the filmmaker reveals what it takes for an Indian film to succeed at the Academy awards.
“It’s important to select films with US distribution,” she reveals, adding, “The top 10 distributors will handle distribution to their theatres, manage press and leverage their relationship with the media. It’s important to work with the people who have the know-how since they have been doing this for the last 70 years.”
Guneet recently adapted Gyaarah Gyaarah from the Korean series Signal. For her last film Kill, she brought in Se-yeong Oh, the fight choreographer from South Korean director Bong Joon Ho’s Snowpiercer. Given her experience and insight into how Korean films work, what does she believe Indian dramas and films can learn to achieve a similar breakthrough?
She says, “I’m a huge fan of Korean cinema, whether it’s their series or films, there’s so much innovation. I don’t think India lacks talent. We have the talent and the know-how. It’s just a matter of time and consistency. I think that we need to open up our international channels. Korean cinema travels through festivals, engaging in conversations with buyers. Kill was able to do that, to the point where we sold a remake to the John Wick team.”
She adds, “So, there are two key aspects: first, the story you’re telling, and second, the business of the film – how far can you take it? Did you open it at Cannes, and from there, did you have a conversation about worldwide distribution? That kind of innovation in the business needs to happen at scale.”
We need to open our films to int’l channels
Every year, when the Academy Awards are announced, the question is: when will Indian films secure their place at the Oscars? So, what does India need to do to see more of its films recognized at the Oscars?
Guneet shares, “I’ve been trying to articulate and explain for so many years that you have to get into that country’s distribution. Jab hum log jo wahan ja kar campaign karte hain, at that time, we have like 40 or 30 days. In 30 days, you can’t learn the market and ace it, right? It’s basically American awards, so you have to work with American distributors. It’s the core of it.”
She adds, “Lagaan got nominated (for the Best Foreign Language Film at the 74th Academy Awards) because Sony Pictures Classics did the campaign with Aamir. And The Lunchbox would have been nominated agar India select karta, the film would have gone far. And if we do good campaigns, hum paanch saal mein nominate bhi ho jayenge, jeet bhi jayenge.” But as of now, we don’t do good campaigns.”
‘My focus is on building labs for mid-career women’
At Cannes this year, it was announced that Guneet will head the initiative WIF: India, part of the global WIFTI (Women In Film & Television International). Talking about it, she says, “I’m learning from the chapters around the world. I’m very invested in women in mid-career because they take breaks due to pregnancy, shaadi, and there’s always a bit of a career break. Then they find it very hard to come back – to be able to make a film, to get back into the circuit of things. So, a large part of my conversation is about building labs for mid-career women. To make their careers so shiny that producers will want to reach out to them and say, ‘Oh, aap ne ye wala programme kiya hai, so we want you to make a film for us.”
My mother saw Kill and told Umesh Bist ‘Mujhe iss ladke ne kahin muh dikhane layak nahi chhoda’-Raghav Juyal
8:20 PM
Hoping to find his “real identity” with his next role, Raghav Juyal on changing his body language to play a cop in Gyaarah Gyaarah
Priyanka Sharma (MID-DAY; August 4, 2024)
Less than a month after playing a menacing villain on the big screen in Karan Johar and Guneet Monga Kapoor’s Kill, Raghav Juyal is ready to present a stark departure on OTT with Umesh Bisht’s Gyaarah Gyaarah. The upcoming ZEE5 sci-fi thriller series features the actor-choreographer as a cop battling past traumas and deep-seated insecurities. Juyal is more than thrilled to showcase his range to the audience so soon after his previous role.
“When my mother watched Kill, she told Umesh sir, ‘Mujhe iss ladke ne kahin muh dikhane layak nahi chhoda.’ He replied, ‘You come after one month; I will correct his image.’ I feel blessed that within a month I have an entirely different character to showcase. This was more challenging than the [character] I played in Kill. This show will give me my real identity,” he says.
The challenge lay in the character’s complex inner world, which Juyal says he initially found difficult to crack.
“Gyaarah Gyaarah went on floors two to three months after I wrapped up Kill. It took time to get out of the body language of my antagonist character. It was difficult initially. There’s a lot of anxiety and angst in this guy. This one was as anxious as cool and breezy my character was in Kill,” says the actor.
Life has evidently changed for Juyal since the release of Kill, directed by Nikhil Bhat. The one change he is enjoying is the industry’s newfound appreciation for him. “The behaviour of industry people has changed. From Fahadh Faasil to Anurag Kashyap, all the people I have looked up to for inspiration, have reached out to me. I have received immense validation from the industry. Even if four people outside the industry don’t know you, it’s okay, but filmmakers should know you,” he smiles.
We didn't have Rs. 600 cr budget like Kalki 2898 AD, yet were brought people to theatres-Raghav Juyal
8:06 AM
The actor-dancer talks about his ‘breakout’ film and balancing dance with his acting career
Navya Kharbanda (HINDUSTAN TIMES; July 24, 2024)
Raghav Juyal’s onscreen journey may have begun with reality TV, but the actor-dancer is now basking in the glowing reviews that he received for the recently released film Kill. Juyal, who played the gangster Fani, says the response to the film has been “phenomenal”.
“I am enjoying this time a lot; it feels like I am having a career shift. The entire industry and filmmakers abroad have called me to appreciate [the film]. It feels good that our hard work is being rewarded,” he tells us.
Kill did the rounds at film festivals before releasing in theatres this year. Juyal, who last starred in the comedy Kisi Ka Bhai Kisi Ki Jaan (2023), feels that the actioner has been pivotal to his career shift. “This film opened doors for me, I feel this is my breakout. It has been a crazy ride,” Juyal shares, adding that word of mouth played a significant role in the film’s success.
“Kalki 2898 AD jaisi Rs. 600-700 crore ke budget wali film humare saath thi, but we were able to bring people to the theatre simply by word of mouth.”
Ask why he thinks this was possible and the 33-year-old notes that the audience is king. “People don’t want to see flashy cinema where the hero is romancing his girl and saving her. The audience expects raw content and real stories, not a dream world,” he explains.
Talking about waiting for the right time to begin acting, Juyal, who hosted shows such as Dil Hai Hindustani 2 and Dance Plus, says, “Agar log mujhe TV par roz dekhenge toh theatres par paise kyun kharchenge? It is better if you are entering the industry with a blank slate. It takes a lot of time to break stereotypes and you need to do something to surprise audiences. Shocker zaroori hai, kuch mediocre karoge toh aaoge aur jaaoge.”
Will dance take a back seat as Juyal focusses on his acting career? “Nothing takes a back seat for me. I will dance in films now, why does it have to be a thing? I even have a huge dance number in my next film,” he ends.
Kill actor Raghav Juyal says "Vicky Kaushal told me, ‘You don’t know what you have done’”
9:55 AM
Raghav on how his villain act in Kill has won him praise from the audience and industry folk
Priyanka Sharma (MID-DAY; July 16, 2024)
Ask anyone who has watched Kill its three best elements. Chances are they will mention Raghav Juyal. The choreographer-actor is winning praise for his portrayal of the angsty Fani. There has been an evident difference since the film’s release, he admits.
“Since Kill, the comments on my social media page have changed. Earlier, they would read, ‘You’re a terrific dancer.’ Now, it is, ‘You’re such a fantastic actor!’ I waited for this for years,” says Juyal.
As the antagonist to Lakshya’s protagonist in the action fare, Juyal’s performance might be a revelation for the audience, but the actor was always sure of his capabilities.
“I’ve been giving auditions for years. Even before I debuted in films 10 years ago, I used to train [as an actor]. So, my coach and friends have known about my potential. Initially, I enjoyed dancing a lot, then hosting happened. I had shot many [films], and used to be restless that my work wasn’t getting released,” recalls the actor, who was seen in Street Dancer 3D (2020) and Kisi Ka Bhai Kisi Ki Jaan (2023).
If his recent on-screen turn has changed the audience’s perception of him, it has also made many in the industry sit up and take notice. There were some congratulatory calls that he expected, and then those that came out of the blue.
“My acting coach, Saurabh Sachdeva, was in tears after watching the film. He said, ‘This is the first time I will take inspiration from you.’ Anurag Kashyap sir messaged me, saying that it was a path-breaking performance. Vicky Kaushal spoke to me for an hour and asked how I did it. He said, ‘You don’t know what you have done.’”
There is so much latent anger and angst in me-Nikhil Nagesh Bhat
8:04 AM
Director Nikhil says Kill was born from rage he felt between 2008 and 2016 as he was out of work after his first movie didn’t see light of day
Mohar Basu (MID-DAY; July 12, 2024)
The night before our chat, director Nikhil Nagesh Bhat had dropped by at an Andheri multiplex to see the audience’s reaction to Kill. “The oohs, aahs, clapping and cheering—there is nothing better than that,” he smiles.
Kill is unlike any Bollywood movie we’ve seen so far. Set almost entirely inside a train, the Lakshya and Raghav Juyal-starrer is unabashedly violent. Its biggest feat is that it’s among the few Indian films to get a Hollywood adaptation, when the reverse is the norm —John Wick director Chad Stahelski is set to produce the remake for Lionsgate. For this, Bhat credits producers Karan Johar and Guneet Monga Kapoor, who showed faith in the material.
“They didn’t stop at making the film; they distributed and released it in Latin America and Japan. They got Lionsgate on board. People [draw parallels with] a John Wick or The Raid, but that’s because there is a lack of reference point from India. John Wick producers remaking this, is a huge thing for Indian films. I will meet them in Los Angeles soon. They said it’s a unique film because they felt for the antagonist as much as for the protagonist. The action and all is great, but the film emotionally gripped them.”
While the action fare was inspired by a burglary Bhat had witnessed on a train from Patna to Pune in the mid-90s, he is eager to see how the Hollywood adaptation will be anchored. “In 2021, there were 699 thefts and robberies attempted in Indian trains. They will have to adapt it to a local story from their culture.”
Kill is touted as Hindi cinema’s most brutal film. That makes us wonder what led Bhat to make such a gory movie. “There is so much latent anger and angst in me. I left advertising to pursue filmmaking. In 2008, I made a film [Saluun] that didn’t release. For eight years, I was struggling to make another movie; I got my next in 2016. In 2015, I remember taking the longest bath of my life. For an hour-and-a-half, I was standing in the shower, thinking of everyone who has gone ahead of me—my friends, cousins, and colleagues. I decided to not waste my time; it’s with that angst that I wrote this film. Fani [Juyal’s character] came to me before Amrit [Lakshya’s character] did. I was channelling my angst in the story.”
(Crisp) Movie Review: KILL by FENIL SETA
9:25 AM
Kill is co-produced by Dharma Productions and made waves at the Toronto International Film Festival last year. It is in the John Wick zone (John Wick's director is also producing its Hollywood remake). There have been films set in trains before. But for the first time, the narrative unfolds in third AC bogies amid a lot of chaos, madness and blood. This 105-minute-long flick has non-stop fights and it keeps the interest going. The action is not for the faint-hearted but a few scenes are quite unexpected and novel and will elicit claps in cinemas. On the flipside, the narrative is a bit confusing. You don't understand who is where on the train. Also, some of the cinematic liberties hamper the impact. Lakshya makes a confident debut and even his baritone voice is quite impressive. Raghav Juyal is the biggest surprise of the film; he's terrific. Abhishek Chauhan (Viresh; Amrit's NSG colleague) leaves a huge mark. Tanya Maniktala, as always, has an arresting screen presence. Ashish Vidyarthi and Harsh Chhaya are dependable. Adrija Sinha (Aahana), Parth Tiwari (Siddhi; strong man in Fani's gang) and Kashyap Kapoor (Dhannu; who pretends to be a common passenger) are decent. All in all, Kill deserves a watch that too in cinemas. Here's hoping some theatres release it without an interval for a better impact.
My rating - **** out of 5!
My rating - **** out of 5!
Fenil's Bollywood Talk # 837
9:15 AM
KALKI 2898 AD’s SUCCESS ASTONISHES THE INDUSTRY; NEW RELEASES ALSO EXPECT TO PERFORM WELL
Last week’s big release Kalki 2898 AD has brought respite to the exhibitors, especially the single screen cinema owners who were feeling the heat. Many expected the film to open at Rs. 22-23 crores on Thursday, June 27. However, it had an opening of Rs. 21.25 crores. The films that are released on Thursday often drop on Friday. But this film, on its second day, had a small jump and earned Rs. 22 crores. On Saturday, it accumulated Rs. 25.50 crores despite the World Cup Match. And then on Sunday, it jumped to Rs. 38.50 crores. The Monday and Tuesday collections were Rs. 16 crores and Rs. 13 crores respectively.
Kalki 2898 AD’s first week collections are expected to be between Rs. 155-160 crores. It can hold strongly in the second week as well and its target should be to cross the Rs. 275 crore collections of RRR. Crossing the Rs. 300 crore mark seems impossible but in today’s times, anything can happen. What would act as an obstacle in its collections is the release of Hindustani 2 and Sarfira in its third week, that is, on July 12.
There was going to be a major Hindi film, Auron Mein Kahan Dum Tha, up for release on July 5. But the Ajay Devgn-Tabu starrer was postponed after it became clear that it would struggle to get sufficient shows due to the Kalki 2898 AD wave.
The major Hindi release this week is Kill. It stars Lakshya in his debut role and is produced by Karan Johar’s Dharma Productions and Guneet Monga’s Sikhya Entertainment. It was screened last year at the Toronto International Film Festival where it got an amazing reaction. Lionsgate, in fact, picked up Kill for distribution in North America and is giving it a wide release.
Kill is an extremely violent film and hence, it is only for the niche audience. But since it’s an action flick, it might surprise in the mass centres. The announcement that John Wick's director would produce Kill’s Hollywood remake has also made a section of the moviegoers excited for it. It’ll open around Rs. 1 crore and has the potential to grow.
Despicable Me 4, meanwhile, is a Hollywood animated film and a part of a successful franchise. From the ticket sales, it seems like it’ll open better than Kill. After Kung Fu Panda 4 and Inside Out 2, this can be another successful animated film of 2024 that has the potential to cross the Rs. 20 crore mark at least, if not the Rs. 25 crore mark.
Last week’s big release Kalki 2898 AD has brought respite to the exhibitors, especially the single screen cinema owners who were feeling the heat. Many expected the film to open at Rs. 22-23 crores on Thursday, June 27. However, it had an opening of Rs. 21.25 crores. The films that are released on Thursday often drop on Friday. But this film, on its second day, had a small jump and earned Rs. 22 crores. On Saturday, it accumulated Rs. 25.50 crores despite the World Cup Match. And then on Sunday, it jumped to Rs. 38.50 crores. The Monday and Tuesday collections were Rs. 16 crores and Rs. 13 crores respectively.
Kalki 2898 AD’s first week collections are expected to be between Rs. 155-160 crores. It can hold strongly in the second week as well and its target should be to cross the Rs. 275 crore collections of RRR. Crossing the Rs. 300 crore mark seems impossible but in today’s times, anything can happen. What would act as an obstacle in its collections is the release of Hindustani 2 and Sarfira in its third week, that is, on July 12.
There was going to be a major Hindi film, Auron Mein Kahan Dum Tha, up for release on July 5. But the Ajay Devgn-Tabu starrer was postponed after it became clear that it would struggle to get sufficient shows due to the Kalki 2898 AD wave.
The major Hindi release this week is Kill. It stars Lakshya in his debut role and is produced by Karan Johar’s Dharma Productions and Guneet Monga’s Sikhya Entertainment. It was screened last year at the Toronto International Film Festival where it got an amazing reaction. Lionsgate, in fact, picked up Kill for distribution in North America and is giving it a wide release.
Kill is an extremely violent film and hence, it is only for the niche audience. But since it’s an action flick, it might surprise in the mass centres. The announcement that John Wick's director would produce Kill’s Hollywood remake has also made a section of the moviegoers excited for it. It’ll open around Rs. 1 crore and has the potential to grow.
Despicable Me 4, meanwhile, is a Hollywood animated film and a part of a successful franchise. From the ticket sales, it seems like it’ll open better than Kill. After Kung Fu Panda 4 and Inside Out 2, this can be another successful animated film of 2024 that has the potential to cross the Rs. 20 crore mark at least, if not the Rs. 25 crore mark.
Raghav Juyal's portrayal in Kill will remind audiences of the iconic Joker-Guneet Monga
10:20 AM
Kill maker Guneet recounts how she went through 100 auditions before choosing Raghav as the actioner’s menacing villain
Mohar Basu (MID-DAY; June 16, 2024)
If the recently unveiled trailer of Kill is any indication, director Nikhil Nagesh Bhat and actor Lakshya are set to give us a fast-paced and relentlessly violent action film. And where there is an action fare, there is a menacing villain. Guneet Monga Kapoor, who has produced the July 5 release with Karan Johar, says finding the right actor for the villain was the toughest part; that is, until she saw Raghav Juyal’s audition.
She says, “We took 100 auditions and Raghav stood out to us. We were searching for someone who could bring an unusual blend of menace and humour to the role, a character who could captivate and terrify the audience at the same time. Raghav not only embraced the part’s complexity, but also added his own unique flair.”
Kill, also starring Tanya Maniktala, premièred at the Toronto International Film Festival last September, and won rave reviews, with special mention for the action set-pieces and the leads’ performances. Kapoor praises Juyal for bringing eccentricity to his character.
“Raghav’s performance captures the essence of his character. His portrayal will remind audiences of the iconic Joker, but with a distinct twist that is entirely his own,” she says.
Cannes opened my eyes about coproductions and how Europe and India can work together-Guneet Monga
8:17 AM
Guneet Monga (BOMBAY TIMES; May 11, 2024)
Mr Yash Chopra once said, a story never fails, its budget does. My inaugural Cannes experience dates to 2012, marked by the screening of Peddlers in the Critics’ Week and Gangs Of Wasseypur in the Directors’ Fortnight. No one told me what to do or who to speak to. Sometimes it helps to embrace what you don’t know and just ask freely. Now, I’m thrilled to be able to offer that guidance and support to others.
I feel one must attend Cannes as a student and a lover of world cinema. My advice is to register early, book your tickets and accommodation early, and try staying as close as possible to the Le Palais at the Croisette (Boulevard de la Croisette) since this is where all the screenings take place. There are many Airbnb options now but stay close because you have to walk a lot. Sneakers over heels in Cannes, always. Oh, the weather can be very unpredictable, so carry an umbrella!
The filmmaking community is very small around the world, and film festivals become the capital for us to converge every year. Meetings for me at Cannes started at 7 am for early breakfast and went on till 4 am. Last year, I locked a sales agent in my upcoming film Kill, at 2.30 am at the Grand Hotel Terrace garden. That very agent worked with us closely and went on to secure Kill’s landmark distribution deal with Lionsgate at the Toronto International Film Festival. I strongly recommend always having your 30-second pitch ready at all times.
Cannes opened my eyes about co-productions and how Europe and India can work together. I learned about the (co-production) treaty signed with France in 1985 and we became the first ones to apply for it in 2011-2012 for The Lunchbox. Meeting European producers, having meaningful conversations led me from strength to strength in articulating how to structure a coproduction, and learning new means to make our dreams happen.
There’s a huge multi-floor market at the Palais. Just to go there and experience the sheer volume of the business of cinema. You’ll find people from Japan, Korea, China, Australia, Canada, Europe, America, New Zealand, and of course India. Witness films being sold, remake rights being bought, and imagine having conversations of so many log lines, so many stories and dreams!
India has one of the largest tents at the coast which is the meeting point of all National Commissions of any country and any work and conversations. If you want to reach out to a talent in a particular country, the office there enables you to do that. Studios station themselves at the Croisette where the five-star hotels are buzzing with the top studio heads. These studios and talent agencies put up their banners here – it’s quite a beautiful sight!
The world discovered Tarantino at the Directors’ Fortnight at Cannes. Gangs Of Wasseypur (2012) also premiered there. If you walk a little further, there’s the Miramar Hotel – where the Critics’ Week happens and where Peddlers (2012) and The Lunchbox (2013) played and got sold to the world.
In Cannes, I don’t think any connection is meaningless, what happens is you end up meeting one person who connects you to another person from a certain country and actually at the end of it, if you do end up at the Oscars, to run a campaign, all this adds up. Every connection can open up to a bunch of voters around the world who can be champions for films Cannes is a global village – a tiny community of filmmakers from all over the world and how to join those dots, is actually what happens at Cannes.
Cannes is a great starting point to witness the love for cinema at that scale.
People wanted to make Apurva lighter. Some felt it’s not a [mainstream] film, but it is-Nikhil Nagesh Bhat
8:22 AM
Apurva director Nikhil Nagesh Bhat on how he pitched Tara-led survival thriller for 14 years, as different studios suggested roping in male star and adopting lighter treatment
Mohar Basu (MID-DAY; Novemver 3, 2023)
Kill is having the kind of journey that every filmmaker aspires for his movie. Nikhil Nagesh Bhat’s directorial venture, starring Lakshya Lalwani and Raghav Juyal, premièred at Toronto International Film Festival (TIFF), and was recently screened at the Jio MAMI Mumbai Film Festival. The action fare— think stunts and gore along the lines of John Wick—is entirely shot on a train. The director’s next outing, Apurva, too is a survival tale. So, we begin our chat with the obvious question: what’s with the gore on screen?
“I get that a lot, especially this year. I am told I need to go see a shrink,” he laughs. But Kill was written in 2020 during the pandemic. “I think the stress and insecurities that were pent up, were put on paper.”
Having producers Karan Johar and Guneet Monga Kapoor backing your vision can be a high in itself. The joy is only heightened with the positive reviews at TIFF. But Bhat remains composed, saying, “I’m glad both Kill and Apurva are in good places.”
That Apurva, led by Tara Sutaria and Abhishek Banerjee, is ready to reach the audience must be comforting for Bhat, who spent 14 years searching for collaborators to back the powerful story of a woman fighting male assailants.
“Apurva was written in 2009. I know women are stronger than men. I have seen powerful women all my life—my DA [director’s assistant] is a woman, my creative producer is a woman and has contributed a lot to this film. In Kill, I wanted a woman to do the dialogues. As a writer-director, I acknowledge that I’d never know what a woman goes through.”
Today, he is happy that the Disney+ Hotstar offering has shaped up exactly as he wanted—“uninhibited”. But he clearly remembers how difficult it was, during those 14 years, to pitch the woman-led story to an industry that loves to see male actors as the saviour in narratives.
“The producers, who I first pitched Apurva to, kept saying a hero should come and rescue the girl. Ek hero daal do, they said. But I didn’t want to change the story of a woman trying to save herself. That’s the film I set out to make. When you see a woman fight back, you root for her. People wanted to make it lighter. Some felt it’s not a [mainstream] film, but it is.”
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