Lasyapriya Sundaram (BOMBAY TIMES; March 26, 2018)

Choreographer-turned-filmmaker Ahmed Khan returns to the director’s chair after 10 years with the upcoming action-romance Baaghi 2. In his candid and nonchalant style, he speaks about the hits and misses as a filmmaker. He has been a choreographer since the 90s and his vast experience of working with the best of Bollywood that has given him plenty of stories to tell. With Baaghi 2, he has tried to turn a new action-filled page in his career. Working with his favourites, Tiger Shroff and Sajid Nadiadwala, Ahmed hopes to aim for the moon. Excerpts…

What made you return to direction after almost a decade with Baaghi 2?
I directed my first film, Lakeer — Forbidden Lines (2004), when I was 28. Though the film had a huge star cast and music by A R Rahman, it didn’t do well. Then, I was offered Fool & Final (2007), which did moderate business, but I had lost interest in direction. I involved myself in choreographing dance numbers, judging reality shows and directing music videos. At least, I was not waiting for a Friday when judgement would be passed. A film’s box office fate did not depend on whether the song I choreographed was a hit or a flop. It was Tiger Shroff who told me that I should direct a film. His excitement propelled me towards direction once again. One day, Sajid Nadiadwala (producer) called me and asked me if I was still interested in direction; that’s when he offered me Baaghi 2. After so many years if I am directing a film, it has to be for the biggest producer. I always wanted to direct a hard-core action film. I was constantly offered dance films, but I was not keen on them as I was already choreographing songs.

Since the film is a comeback of sorts for you, there must be a lot at stake…
For me, Baaghi 2 is like a litmus test — a make or break moment. If this film doesn’t bring me back into the game then I am not meant to direct a film. Nobody gets so many chances in life. Perhaps, people think that I am a good technician. I have been a choreographer for 23 years and survived in the industry, which may have helped me bag another film. The fact that the younger generation is keen on collaborating with me means that I have kept up with the times and haven’t become a Murphy radio (laughs).

The USP of the movie is its high-octane action. Give us an insight into how you went about shooting the scenes?
We travelled to Krabi, Chiang Mai, Kanchanaburi and then Bangkok in search of a mountain on which a chopper could land and simultaneously another chopper would rise up in the air for an action sequence. We have worked with three action co-ordinators in the film including Kecha, Ram Lakshman from the South and Shamsher Khan who brought in different sensibilities. I spent nine months planning all the action sequences, but I shot it in a few days. In fact, this film was shot in 69 days when action films take minimum 100 days. In Kullu Manali, we shot in -13 degrees. Krabi was burning hot when we canned the chopper scene. We have also done a chase sequence in Goa with 40 cars!

Have you taken a backseat as far as the film’s choreography is concerned?
When I came on set for Mundiyan To Bach Ke, it was air-conditioned and in complete contrast to the action sequences, which we had shot outdoors. My assistant Rahul Shetty choreographed this song and Ganesh Acharya has done the Ek Do Teen remix. I didn’t want to choreograph for this film, as I wanted to completely focus on direction.

Did you have a freehand as far as direction is concerned, or was Sajid very involved in the process of filmmaking?
Sajid and I are like brothers. We used to fight, I used to walk out and then he would eventually agree and incorporate my suggestions. On the first day of shoot, he came to the set and sat for 20 minutes. After that he never came on set. He sits on the edit, but how it’s shot is totally my call. I can put my foot down whenever I feel it is required. Till today, one scene in the film is a bone of contention between the two of us (laughs). We have discussed how we will be fighting over it even after the film’s release. In fact, the third instalment of Baaghi has already been announced. He is a dream producer to work with.

Two controversies have surfaced with regards to the film. The director of the Telugu film Kshanam (2016) was upset because the writers of the original film have reportedly not been given credit in Baaghi 2. Also, Charanjit Singh Maakar, the lyricist of the original Mundiyan To Bach Ke has claimed that he has not been given credit either…
There is no controversy. We have officially bought the rights of Kshanam and we will be giving the credit for the same. It clearly states that it is an adaptation of the Telugu film. We have also scaled up our film up for a pan-India audience. The original was a huge hit in Telugu and Tamil and now, it’s been remade in Hindi. T-Series officially bought the rights of Mundiyan To Bach Ke. Who will be given credit for the song, is something that is between the music label and the original composers. How can I do anything about that?

Do you think Bollywood will see more choreographers turning directors in the future?
Kamal Master was the first choreographer to turn director when he made a film with his son. Years later, Farah Khan and I turned directors around the same time. I think what we did made many choreographers believe that they could also become directors. We are technicians, so it’s a natural transition.

Sanyukta Iyer (MUMBAI MIRROR; March 16, 2018)

A day after Mirror reported that writer-lyricist Charanjit Singh Maakar aka Channi Khannewala had sent legal notices to producer Sajid Nadiadwala, director Ahmed Khan, music label T-Series, lyricist Ginni Diwan, music director Sandeep Shirodkar, singers Navraj Hans and Palak Muchhal and leading man Tiger Shroff for allegedly plagiarising his song, “Mundiyan To Bach Ke Rahin,” for their film, Baaghi 2, Sony Music India has issued a legal notice to T-Series.

The latest development comes after a Baaghi 2 spokesperson refuted Channi’s claims in the Mirror report (March 15), saying T-Series had acquired all required rights to the song from Sony Music, who, in its legal notice, denies this, stating that the music label has no authority to use track.

A Sony Music India spokesperson revealed to Mirror that their rights to the song expired in the early 2000s and they had turned down a request from T-Series to remix the track during the song’s pre-production stages. “We have not given permission to T-series and have already issued a take-down notice to them,” the spokesperson said. Mirror reached out to both T-Series and the Baaghi 2 team multiple times via call and message but they chose not to respond.