Showing posts with label Monisha Advani. Show all posts
Showing posts with label Monisha Advani. Show all posts
I’m glad that after 21 years, people are still watching Kal Ho Naa Ho, dancing to Maahi Ve-Nikkhil Advani
8:13 AM
Niharika Lal (BOMBAY TIMES; December 10, 2024)
Call it serendipity or coincidence, Nikkhil Advani ended up with two releases on the same day last month – the re-release of Kal Ho Naa Ho and the release of the period drama Freedom At Midnight. He says he can’t really take credit for either of the projects or the release dates. “I was just offered the projects, and I didn’t say no,” he said during a conversation.
‘I ENJOY BEING ON SET’
Nikkhil says he enjoys filmmaking. “I enjoy being on set. I love being in a writers’ room. As a showrunner and producer, I constantly have to be in rooms where budgets are being discussed and, more importantly, where budget cuts are being slashed. I’ve never really enjoyed being in an editing room, though. I hate it because every time I watch my footage, I find myself thinking, ‘I could have shot this better. I wanted it to be better. Maybe we can change this,” he says.
‘IT WAS A CONSCIOUS DECISION TO USE LIGHTS LIKE THE CROWN’
Watching Freedom At Midnight may remind the audience of the historical drama The Crown. Nikkhil says, “Was it a conscious decision to be like The Crown? Yes, very much. What The Crown does is use very harsh backlight from the windows, and they shoot a lot on sets. We were also shooting extensively on sets, so it became an automatic reference point for us. Agar aap blue ya green screen use karte ho, then half your budget goes into VFX, and you can’t do anything else.”
He further explains, “These are things I’ve learned over the years. For instance, if I want the audience to feel a little more stressed out, I use darker colours and wood paneling. Colours were thought out very carefully because I wanted the audience to be emotionally connected to every scene of Freedom At Midnight.”
‘TRIED TO BE AS AUTHENTIC AS POSSIBLE’
Nikkhil says that as far as authenticity is concerned, the team tried their best. He explains, “But I don’t think it can ever be enough, right? The people being spoken about and shown in this story were giants. It’s not just about getting their physicality, speech, or walk right. What they thought, what they said, their vision – it was immense. What I tried to do was put the audience into a room with them and show, yeh log kaise thay.”
‘People still dance to Maahi Ve and send me clips’
“Neither did I have a choice about the release of Freedom At Midnight, nor did I have a say in the re-release of Kal Ho Naa Ho,” shares the filmmaker, adding, “I’m just glad that after 21 years, people are still watching Kal Ho Naa Ho, dancing to Maahi Ve, and sending me video clips.”
He says, “I didn’t consciously make these choices. Someone offered me Freedom At Midnight, and someone offered me Kal Ho Naa Ho. Maine keval bola, ‘Mujhe kaam chahiye, mujhe kaam karna hai.’ My sister (Monisha Advani) and my production partner, Madhu (Bhojwani), often ask me, ‘When will you turn around and start saying no?’ And I reply, ‘I won’t. I’ll never say no. If I’m offered a project, why would I say no?’ Logon ke paas kaam nahi hai. People often say, ‘You’re doing so much work,’ and the reason is simple I say yes to everything. When I was doing the post-production for Vedaa, I was simultaneously shooting Freedom At Midnight. I don’t say no; I only say yes. Karan (Johar) told me to do Kal Ho Naa Ho, and I said, Okay.”
Censor Board hasn’t made any cuts that hamper Vedaa's story-Monisha Advani
8:25 AM
Contrary to buzz that CBFC cleared Vedaa without any cuts, 10 minutes of the film snipped, including scenes that mention caste and Sanskrit shlokas; maker Monisha says Board respected the ‘movie’s intent’
Mohar Basu (MID-DAY; August 8, 2024)
Vedaa isn’t exactly having a smooth road to the theatres. After John Abraham and Sharvari’s action fare was screened for the Central Board of Film Certification (CBFC) on June 25, it was held up for over a month at the Revising Committee, which finally gave it a go-ahead on July 29 (Make up for lost time, July 31). At the time, director Nikkhil Advani had indicated that it was granted a ‘U/A’ certificate without any cuts. However, it has now emerged that the makers were instructed to snip about 10 minutes of the film—which revolves around caste oppression—to receive the certification.
For starters, the CBFC asked the filmmakers to add a modified disclaimer and voiceover, lasting 1 minute and 16 seconds, stating that the movie is a work of fiction, inspired by true events. While a dialogue containing derogatory references to women had to be altered, a two-minute hanging scene was removed.
A source says, “Some cuts were proactively suggested by Nikkhil, including the reduction of violence inside the court. This is where the film lost over six minutes. The Censor Board asked them to delete a scene that had a character listening to an audio track with Sanskrit shlokas. They also instructed that the text ‘Brahmin’s son...Shudra’s son’ be dropped. The abusive term ‘behenkhor’ was replaced.”
In July, the director had expressed his disappointment when the CBFC had not certified Vedaa for almost a month (Never saw a time when the maker couldn’t talk to CBFC, July 27). But now, the makers are not only happy with the certification, but also deem the suggested cuts reasonable.
Producer Monisha Advani says, “Experts viewed the film and there was careful thought given to the film’s material. The cuts that they’ve asked for are not unreasonable. It was heartening [to see] that their stance was to respect the movie’s intent. The sentiment was, ‘We will not disturb your story in any way.’ They said it’s an important story that must be viewed by everyone. They haven’t made any cuts that hamper the story.”
Was the violence in the August 15 release reduced so that it could be given a ‘U/A’ certification? “They were magnanimous with ‘U/A’ so that they can allow a wider audience for the film. We don’t have a problem with the action piece that has been reduced. We had a four-minute disclaimer in Batla House [2019] too.”
The month-long wait was excruciating for the team, and Monisha hopes that the Board will be cognizant of it. “CBFC must be empowered with more people so that timeline issues can be avoided. Films could be processed faster.”
The impact of Mrs Chatterjee vs Norway is such that women are sending bangles and mirrors to Norwegian embassy-Nikkhil Advani
8:16 AM
Nikkhil Advani, Monisha Advani and Madhu Bhojwani talk about the appreciation their recent projects have received and how their content company has rapidly adapted to the changing times
Neha Maheshwri (BOMBAY TIMES; March 27, 2023)
The audience has showered immense praise on two recent releases – the film, Mrs Chatterjee vs Norway and the OTT series, Rocket Boys 2 — both of which are based on real-life stories. But that’s not the only common factor between these two. Both are creations of Emmay Entertainment content production house, which is headed by the creative-minded trio of Nikkhil Advani, Madhu Bhojwani and Monisha Advani. They like to describe themselves as a ‘triumvirate’, which encapsulates a synergy of creativity with sound finance and pragmatism.
The 12-year-old company boasts of a massive slate of original content, including films and web shows. Ask them about the roadmap that brought the company so far and Nikkhil says that there isn’t one. He reasons, “You spend one year planning to do something, and suddenly out of the blue, something else will come up, and that becomes a roadmap.”
However, Monisha says, “There is a roadmap that makes us a very interesting triumvirate because we function with contrarian views. Nobody saw a pandemic coming and suddenly the consumption pattern changed. The content, the way we presented, all of that is transforming so rapidly that we have to nurture a group of creators who are agile to that flexibility.”
Madhu states that at the end of the day, “it’s the commerce that allows us to exist”. She elaborates, “What these 12 years have taught us and kept us going is that you have to light many fires and hope that they become bonfires around which you can stand and warm your hands. We started this company in 2011, and up to 2017, we produced six films. From 2017 to 2023, we finished our 29th project. That can’t be just based on being reactive. We have grown a competency in the area of web series. We are also excited to tell stories based on true incidents.”
The OTT space is liberating, admits Nikkhil. He adds, “OTT has allowed storytellers to fly. Things like Friday kaun aayega, Saturday kaun baithega, Sunday family baithegi ki nahi. The purity of telling a story gets diluted in the process.”
When asked what draws the trio to real-life stories, Madhu replies, “Real life presents us with the most inspiring and bizarre stories (Airlift, Batla House, Mrs Chatterjee vs Norway, Mumbai Diaries and Rocket Boys 1 & 2). Yes, there are a lot of ramifications, especially from a legal standpoint. Three of us are at loggerheads mostly when we give the green signal to a real-life story.”
Nikkhil adds, “I was certain that if I couldn’t use Norway in the title of Mrs Chatterjee vs Norway, I wouldn’t make the film.” He also recalls the reactions he got for Rocket Boys. “A lot of people told me that Rocket Boys is cinematic and shot so beautifully, why couldn’t it be a film? It can’t be because then look at the content you will have to give up.”
The trio is moved by the impact their productions have made on the audience. “The impact of Mrs Chatterjee vs Norway is such that women are sending bangles and mirrors to the Norwegian embassy,” Nikkhil shares. Monisha adds, “I don’t know whether it’s triggering or inspiring, but I am moved by the experience. We are not evangelists or activists, we just set out to entertain and tell authentic stories.”
While talking about the production house’s plans — which include the second season of Mumbai Diaries, the new web show Adhura, a film by Saurabh Shukla and another one starring Abhishek Bachchan this year — Nikkhil says he’ll continue to champion the approach of disruption. “We are constantly challenging ourselves. Longevity is a result of disruptions, so I intend to shake things up. Now, whether the disruption will come in the form of genre or an idea, we don’t know,” he signs off.
Tax rebates and relaxed Covid-19 protocols help film shoots shift abroad
8:10 AM
Titas Chowdhury (HINDUSTAN TIMES; August 23, 2021)
After the lockdown last year, BellBottom kick-started its shoot in Scotland, a move that set a precedent for other films stuck in limbo due to the pandemic. These films include Pathan, Laal Singh Chaddha, Vikram Vedha, Dhaakad, Brahmastra, Action Hero, Fighter and Parineeti Chopra’s untitled action thriller, among others, as reports suggest.
Strict Coronavirus protocols and difficulties in shooting in bio bubbles in India have opened up opportunities for filmmakers to shift their productions overseas. Italy-based line producer Ivano Fucci facilitated the shoot of Radhe Shyam in October 2020 for 40 days along with Telugu films Khiladi and Thank You in February and May this year, respectively.
“Many countries have announced special measures to attract global producers. Right now we are back to the usual incentives, which are still very interesting for Hindi producers. Italy offers 30% rebate, Hungary 25%, France 30%, Spain 30% and Morocco 20%,” Fucci says, adding that he will be shooting for two movies in Hungary, and one film in Bali.
Line producer Sarfaraz Alam, who was a part of the Russia schedule of Sardar Udham Singh, is currently working on Tiger 3 in Russia and will start Ajith Kumar starrer Tamil actioner, Valimai, from August 27. “In Russia, the rules are less strict,” he says.
He believes that shooting Indian projects in other countries can help up tourism and hence, restart economy at a time like this. He adds, “When Indian filmmakers shoot abroad, they give employment to the local people and hire local equipment. The governments offer a good rebate or even a cashback which intrigues many producers.”
Producer of Mrs Chatterjee vs Norway, Monisha Advani, says that shooting abroad was required by the script, but reveals there are other reasons too: “The ever-expanding consumption of content is encouraging countries including India to incentivise shooting of films and shows. It is an encouraging time for content creators as we are able to find places that suit our story and can accommodate our budget.”
Producer and trade analyst Girish Johar adds, “In India, travelling is a bit on a sticky wicket right now. Different states have different SOPs. If you shoot abroad, you have to deal with one SOP. Hence, it’s less tedious to shoot films overseas.”
Bellbottom, Laal Singh Chaddha: Producers are opting for foreign locations to complete their pending films
9:19 AM
As shoots in India seem to be resuming slowly, producers are opting for foreign locations to complete their pending films
Juhi Chakraborty (HINDUSTAN TIMES; August 14, 2020)
Admitting that the decision of shifting Laal Singh Chaddha’s shooting location was a result of the situation, producer, Ajit Andhare, Chief Operating Officer Viacom18 Studios, says, “Our production plans were very different and we had to recast them and that’s why we have a fresh production schedule and release date.”
While many productions have resumed in the country at present, Andhare feels that it is still very challenging in terms of what happens when people contract the virus. He adds, “What these overseas places provide is a far better control and better planning of what you are able to do on a shoot.”“Shooting in the country would require permissions from various states and that could be a hassle. There are many countries that would be extending invites for shoots to many Bollywood films and many more films will head out,” feels trade analyst Atul Mohan.
“The shoot of Salman Khan’s Radhe is pending and they might make some alterations in the script and also find a suitable country and location to shoot. If situation is not favourable in the country, why waste time here,” Mohan says, adding that at least this way, filmmakers can keep their projects ready for when theatres reopen.
There are other countries, too, where a lot of Bollywood productions can move shoot to, including Australia and New Zealand, along with Europe. “Shooting overseas becomes economical as there are a lot of subsidies given. I’m sure many European countries will be welcoming film crews. Even films that have a budget of ₹10 to 20 crores, will end up saving 15- 20% by shooting abroad” says trade expert Joginder Tuteja.
Bellbottom co-producer Monisha Advani says that all of Emmay Entertainment’s shoots are happening exactly where they were intended to pre-lockdown. “Bellbottom, was always intended to be shot in the UK and has proceeded as planned. Likewise, we hope to resume our other projects in Mumbai, Rajasthan and Lucknow soon. Prep is on full swing as we mobilise crew members for each of these units,” she says.
Downsizing: The way forward for Bollywood?
8:43 AM
Tighter budgets, featuring pay cuts for all including A-listers, appear to be the industry’s only hope now
Juhi Chakraborty (HINDUSTAN TIMES; June 9, 2020)
The Coronavirus pandemic and the subsequent nationwide lockdown hit the entertainment industry hard. Now as it looks at the way forward, the overall feeling is downsizing in every aspect is what will help minimise further losses.
Pay cuts likely
Filmmaker Madhur Bhandarkar feels producers have to cut budgets, starting by slashing remunerations of actors, in all announced and upcoming projects. “There will be negotiations in terms of budget. I’ve seen actors who hike their price after a couple of hit films. Now the case is totally different. Everyone wants to work, so the economic dynamism has to change,” he shares.
Trade analyst Atul Mohan points out that the chunk of the budget of a film goes in paying actors. “There are no returns, so producers have to cut down. Actors will have to understand that since they take a good amount of upfront fees, they will have to compromise for the sake of the films,” he explains.
Crew cut
Cutting down on the number of people on a film set is another way to ease the burden on producers. Actor Rakul Preet Singh says it has to be the top option initially at least. “I think people have ended up becoming more productive due to the home-work culture. Some films will be able to manage with a smaller set, while some have huge sets like my film Indian 2. I don’t know how they will minimize crew there. For my Hindi film with Arjun [Kapoor] we will be able to manage with a smaller crew,” she says.
Mohan adds the celebrity entourage culture has to end in such a crisis as they also burn a hole in the producer’s pocket.
“Some actors have 10 people with them whose daily payment has to be taken care of by the producer. This is an unnecessary burden on the producer, who has to pay up to ₹50 lakh for the entourage of one actor for the whole shoot,” he says.
Other aspects
With as many as three films lined up for release this year including Indoo Ki Jawani and Satyameva Jayate 2, producer Monisha Advani feels she will have to exercise financial prudence. “It has been over 100 days since we saw any income, and that is the case for most production houses, artistes, technicians. I’m encouraging working from home as it may control overheads which can be used to pay salaries,” she says.
Producer Anand Pandit, who has two films lined up for release — Chehre and The Big Bull — says for future films, he intends to opt for domestic shoots. “We’ve put all foreign shoot plans on hold. As far as a film’s marketing costs are concerned, I haven’t taken a call because a lot will depend on what is allowed once the restrictions are eased,” he says.
Emmay Entertainment believes in empowering women storytellers
6:12 PM
Mitakshara Kumar, Monisha Advani, Madhumita, Kaashvie Nair, Madhu Bhojwani and Ananya Banerjee
BOMBAY TIMES (March 9, 2020)
For a production house where two-thirds of its leadership is female, Emmay Entertainment has taken the gender mandate further. Founded in partnership with filmmaker Nikkhil Advani, producers Madhu Bhojwani and Monisha Advani realised that in its ninth year, the company’s body of work has reflected agnostic genres — from real-life thrillers like Batla House, D-Day and Airlift, to massy dramas like Satyameva Jayate and Marjaavaan.
Conscious of upping the volume on content that represents women in a stronger, positive and empowered manner, they realised the answer was not just in the story; for that, they needed the right storytellers. The company has now signed four women directors with diverse film grammar and yet, an aligned agenda — inclusivity. These filmmakers include Kaashvie Nair (whose upcoming film will feature Neena Gupta, Arjun Kapoor and Rakul Preet), Madhumita (critically-acclaimed director of the award-winning Tamil feature film KD), Mitakshara Kumar (directing a period epic for an international OTT) and Ananya Banerjee (debuting with two web series this year).
Speaking on behalf of the company, producer Monisha Advani says, “We are committed to producing for an increasing number of women directors. This is not a diversity card. We believe their optics change the way we view any genre of cinema, be it action, drama or comedy.”
Tara Sutaria trained in sign language for two months for Marjaavaan-Milap Zaveri
8:13 AM
Marjaavaan director Milap Zaveri on how Tara Sutaria took on the role of a verbally impaired girl
Sonil Dedhia (MID-DAY; October 8, 2019)
After foraying into Bollywood with Student Of The Year 2, Tara Sutaria is gearing up for the release of Marjaavaan. While the college caper saw her in a glam avatar, the actor explores the other end of the spectrum with the Milap Zaveri-directed venture that sees her play a mute character, Zoya. It may well be a demanding role, but the director knew he had found his Zoya during his very first meeting with Sutaria. "I met Tara at a party hosted by Monisha Advani [producer of Satyameva Jayate]. I found her pretty and was aware that she had been a host for a kids' channel. Monisha told me that Tara has already been signed on by Karan Johar. She had an air of innocence and vulnerability, which fit the character perfectly," he explains.While many may be bogged down with the responsibility of playing a verbally impaired character, Sutaria submitted herself completely to the part. "When I narrated the script to her, she realised that she had to learn the sign language. Tara trained with Sangeeta Gala [sign language consultant] for almost two months." Lauding her for holding her own in front of actors like Sidharth Malhotra and Riteish Deshmukh, the director adds that her dedication to the craft will hold her in good stead.
Kiara Advani bags Indoo Ki Jawani; to be produced by Nikkhil Advani
7:59 AM
Actress plays girl from Ghaziabad whose left and right swipes on app makes for a quirky comedy
Avinash Lohana (MUMBAI MIRROR; May 27, 2019)
Kiara Advani who is presently shooting for the Vikram Batra biopic, Shershaah, with Sidharth Malhotra, has given her nod to a coming-of-age comedy titled Indoo Ki Jawani. Produced by Nikkhil Advani, Niranjan Iyengar and Ryan Stephen, it features Kiara as Indoo Gupta, a feisty girl from Ghaziabad, whose left swipes and right swipes with a dating app results in hilarious chaos. It will be the Bollywood debut of Bengali writer-filmmaker Abir Sengupta and is expected to go on floors in September.“Some time ago, my daughter Keya came to my office and while looking at the posters of the films we have made so far asked matter-of-factly why all of them had only men and no women. Around the time, I heard this story that Niranjan and Ryan brought to us and fell in love with it. Thankfully, it revolves around a female protagonist,” laughs Nikkhil, saying that they have been looking to collaborate with Kiara for the longest time and were pleased that she instantly gave her nod.
Kiara is all fired up about her first female centric film. “Indoo is edgy, lovable and quirky. The dialect is completely new so I’m going to do a lot of workshops to get it right. I can’t wait to start shooting,” she says, adding that the story is relevant to today’s time and given her character’s background and the setting, the film is really exciting. Prod her for details and she zips up, only reiterating that Nikkhil and she have discussed several projects in the past. “This is such a special script, I think we were meant to do it together,” she smiles.
It was writer-turned-producer Niranjan who first reached out to Kiara. His production partner, Ryan, informs that when Abir narrated the gist of the story to him in a coffee shop, he knew that this film had to be made and they couldn’t think of anyone better than Nikhil, Monisha Advani and Madhu Bhojwani to collaborate with. “They got it in a heartbeat and that’s what’s most important for any film. Indoo Ki Jawani is young and funny, pure heartland, and sends the right message home, making it the perfect debut for us as producers,” exults Ryan.
Ask Kiara if she has ever been on a dating app and she shakes her head, “Nope, but I have friends using these apps and have heard a lot of fun stories of their experiences. But nothing compared to what we have for you,” she laughs.
John Abraham, Bhushan Kumar, Nikkhil Advani come together to make six films
7:57 AM
BOMBAY TIMES (November 22, 2018)
A slate of films will be jointly produced by Bhushan Kumar’s T-Series, John Abraham’s JA Entertainment and Monisha Advani, Madhu Bhojwani and Nikkhil Advani’s Emmay Entertainment.
Some of the movies that will be made under this joint venture will also see John Abraham as an actor. Similarly, apart from being a producer, Nikkhil Advani will also direct a few projects. Meanwhile, other directors who will be a part of this collaboration include Gauravv Chawla, Samar Shaikh, Kaashvi Nair and Ranjit Tiwari.
Speaking about this development, Bhushan Kumar, CMD, T-Series, says, “Having worked with John, Nikkhil and everyone at Emmay, I have a very secure partnership.” John shares, “The coming together of this tripartite gives an enhanced and solid platform to showcase talent and technicians, which is a critical way forward to expand the industry.” Nikkhil adds, “We welcome this collaboration, as it will enable us to push the envelope with new stories and formats.”
While more details will be announced soon, six films are already in the final stages of assembly and will go on floors between 2019-20.
When I finally picked up the Batla House script, I couldn’t put it down-Nikkhil Advani
8:13 AM
Roshmila Bhattacharya (MUMBAI MIRROR; October 22, 2018)
My writer Ritesh Shah has lived the dream longer. He spent a year researching and meeting people before coming to me, thinking the maker of D-Day, Airlift and P.O.W.: Bandi Yudhh Ke was the best person for this film. At the time I was preoccupied with other projects. When I finally picked up the script, I couldn’t put it down. I just felt it needed some more work. (Smiles) I didn’t know it’d take four years and 30 drafts before we could take it to the floors. I have never felt more energised or more nervous.
Nervous, why?
It’s such a huge responsibility. I’ve to be fair to both sides. It’s not just the story of then ACP Sanjeev Kumar Yadav who in 2008 with a seven-member Special Cell Team barged into Flat 108 of L-18 Batla House in search of Atif Bashir, Chief of the Indian Mujahideen believed to be behind several bomb explosions across India between 2003– 2008 culminating in a series of blasts in Delhi. It’s also about three young students of Jamia Millia Islamia—Okla University in our film – who were accused, arrested or killed. I need to be able to look at those who shared their trauma with us in the eye, to hear them say that justice was done when they see the first copy. I know this film will trigger discussion, conversation…
...Maybe even controversy?
My production house is already being asked by various people to share the draft even though Batla House is not a documentary but a work of fiction inspired by true events. For that matter we are also getting enquires from certain communities asking if they’ve been correctly represented in my upcoming film Baazaar despite it being cleared by the CBFC. All I can say is that we are a responsible production house who despite being given a choice of ‘U/A’ and ‘A’ accepted an adult certificate for Satyameva Jayate because we didn’t want to expose kids to graphic violence.
Has John Abraham who plays the protagonist met DCP Sanjeev Kumar Yadav who headed the encounter?
Yes, they’ve had a few meetings during which John absorbed certain nuances in his speech and body language which he wants to incorporate into his character. He’s been taking Urdu lessons as a large part of the narrative is in it.
Getting back to Baazaar, why has it taken the film so long to come to the theatres?
We were looking for the right partner who believed in the film, in my choice of Saif (Ali Khan) to play the protagonist and in newcomer Rohan Mehra to play the second lead. Also, in debutant director Gauravv Chawla. We found it in Viacom18 who will market it well.
Weren’t you supposed to direct Baazaar yourself?
I was, but then my sister, Monisha Advani who is my production partner, suggested I listen to what Gauravv had done with the first 30 pages of the script. By the time he came to the third scene I knew he was the best person for the job. Even Saif who’d told me he wanted me on the set everyday, called on the second day to say I didn’t need to be there. He’s an intelligent guy, and because he reads and thinks so much, he needs a director who can can answer all his questions.
I’ve been busy with Moghuls. So far everything I’ve done, I could see happen before my eyes. But every shot in this series needs some kind of VFX. I had to imagine snow here and mountains there. It was a challenge. We’ve just wrapped up the first episode.
Your take on #MeToo?
This has been a year of churning and I’m glad that the world is finally waking up to women’s rights. My sister and my other producer partner, Madhu Bhojwani, headed an HR company till they retired and I convinced them to join me. Sixty per cent of our work force are women and certain guidelines regarding sexual harassment were already in place in our company before all #MeToo exploded. I can assure that no woman is unsafe or unprotected with us.
Baazaar delayed for Saif Ali Khan's Sacred Games; to release in October-Monisha Advani
7:59 AM
Sonil Dedhia (MID-DAY; August 4, 2018)
After several rounds of delays, Saif Ali Khan's Baazaar is finally set to hit screens in October. Refuting rumours of a spat between Khan and producer Nikkhil Advani, co-producer Monisha Advani says the film - that revolves around the Indian stock market - was pushed ahead to make room for the shoot of Khan's web series, Sacred Games.
"We had to take a break in the midst of shoot to accommodate the filming of Sacred Games, and we were happy to do that. We didn't want Saif to feel that he had to leave one opportunity for another. We finished the Baazaar shoot early this year and moved to post production. Unfortunately, Nikkhil and I lost our mother around the same time. So that delayed things further," says Monisha, who has another big-ticket release, Satyameva Jayate, lined up this month.
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