Showing posts with label N K Sharma. Show all posts
Showing posts with label N K Sharma. Show all posts

Shoojit Sircar wanted me to tone down my voice but having been an anchor earlier, it was difficult-Ayushmann Khurrana


As told to Avinash Lohana (MUMBAI MIRROR; September 24, 2019)

Shoojit da (director Shoojit Sircar) was looking for a quirky, Punjabi guy in his mid-20s to play the titular role in his romcom, Vicky Donor. He had seen me on MTV, where I was working as an anchor, and got in touch through casting director Jogi ji (Mallang) with whom I had auditioned for another film. When I finally met Shoojit da, he did not audition me. He simply looked at me and said that he liked me and wanted me to be myself. Later, he admitted that he had known I was his Vicky Arora the minute I entered the room where Juhi (Chaturvedi, writer) and Ronnie (Lahiri, producer) were also present.

Soon after, he sent me for a month-long theatre workshop with N K Sharma, the founder of the theatre group, Act One. My co-star Yami (Gautam) was also a part of it. I have known her since we were kids as we are family friends. In fact, I interned under her father who is the head of a Punjabi channel in Chandigarh. I shot a documentary with him.

I clearly remember my first shot, which was in a bank where Yami’s character Ashima Roy worked. We were staying at a guest house in Delhi and we had converted its large garage into the bank. Vicky goes there to open an account and meets her for the first time.

I was a bundle of nerves. Shoojit da is a director known for his subtlety and wanted me to tone down my voice but having been an anchor earlier, it was difficult for me to do so. He was patient with me and explained things but it still took me five to seven takes to internalise the subtlety he wanted from my performance.

However overall, I was quite confident in front of the camera because of my previous experience and was excited about the film. Since I was already an established name on television, I had turned down at least six lead roles. Thanks to my previous gig which gave me a journalistic perspective, I'd seen the highs and lows and knew how important a script is for a film. I was looking for that one unique project and the search ended with Vicky Donor.

As far as the subject goes, it would have come as a shocker for me had I not been aware of sperm donation. When I was doing Roadies in 2004, we had to donate to a sperm bank in Allahabad as part of a task. Seven years later, when we were filming Vicky Donor, Shoojit da was pleasantly surprised that I not only knew about the process but it also didn’t make me cringe. I had been bowled over by the script!

We had some cricket scenes in the film which were my favourites as I had played the sport at district level. Shoojit da is a chilled-out director; he never shot for more than eight hours and every day after pack-up, we’d play cricket.

I’m also a huge foodie and when I was shooting a scene with Annu Kapoor sir which required us to binge on chhole bhature at a popular Delhi eatery, we forgot we were shooting a scene and ended up having around 10 bhaturas.

Advertising saved me from the rat race of a struggler-Gajraj Rao


Before Badhaai Ho, actor Gajraj Rao always felt like the groom’s best friend. Now he feels like the groom
Kunal Guha (MUMBAI MIRROR; October 28, 2018)

“I am unable to process what has been happening,” says Gajraj Rao, his eyes lighting up to convey the extent of how much his life has altered in the last 10 days. His latest screen outing Badhaai Ho, which is pegged as the sleeper hit of the year, and has already earned Rs 69.5 crore at the box office. Rao plays a middle-aged father of two who finds himself in a spot when he learns that his wife is pregnant again.

The overwhelming response to the film has earned Rao, who has essayed small but significant roles in movies such as Black Friday (Dawood Phanse), Talvar (Dhaniram) and Blackmail (private detective Chawla), a sort of overnight stardom he has never experienced in his 25-year-long acting career.

Now, people who take selfies with him actually recognise him, he says with a grin. “I was on a flight a few years ago and sporting a bald look. And a co-passenger asked me, ‘Shankar ji kaise hain? Saath nahin ho aap log aaj kal?’ It was only later that I realised he had mistaken me for Loy [Mendonsa] (from the musical trio Shankar-Ehsaan-Loy).”

The 47-year-old’s family hails from a small village in Rajasthan, but he spent his formative years in Delhi, thanks to his father who held a job in the Indian Railways. “Railway colonies are very cosmopolitan. You’re meeting people from across the country and I was always fond of picking up languages,” says Rao, who, coincidentally, plays a ticket checker in Badhaai Ho. “That I have a Bengali caller tune today has a lot to do with our four Bengali neighbours at the Railway colony we lived in.”

Rao, who showed no interest in medicine, as his father had hoped, started out with N K Sharma’s theatre group Act One, which also included actors such as Ashish Vidyarthi and Manoj Bajpayee. He worked in notable plays such as Jab Sheher Humara Sota Hai (starring Vidyarthi) and Netua (starring Bajpayee). Rao remembers his days in theatre fondly, but also rues that it was tough to make ends meet.

Rao eventually got his break in films when Tigmanshu Dhulia, who had seen Rao’s work in theatre, recommended him for a part in Bandit Queen. “Shekhar Kapur (director) asked me if I had acted before and I said ‘Yes’, and then he asked if I had acted in front of the camera and I said, ‘No’ and I was selected.”

But bite-sized roles in films and performing on stage at Delhi’s Mandi House weren’t enough to provide for a family, so Rao had to find a side hustle. “N K Sharma suggested that I adapt Tennessee Williams’ The Glass Menagerie into Hindi. The play was titled Pankh Hote Toh Udd Jaate .” What followed were jobs to write the anchor script for news channels, even assignments for the Navbharat Times, and a stint as an audience coordinator with Siddhartha Basu.

Rao’s career took a turn when he began assisting director Pradeep Sarkar on TV commercials and over time, formed his own production house Code Red Films, which has produced over 1,000 commercials. But Rao still feels that his move to advertising was only because he “didn’t want the family to suffer”. “Advertising saved me from the rat race of a struggler. Not that I didn’t have to struggle for good roles, but I don’t have a sad story, and my struggle isn’t any worse than that of the next person.”

A peculiar aspect about Rao’s career, he says, is that he never chose work based on the commercials of a project. “I have even done films free of cost. For films such as Black Friday and No Smoking, Anurag [Kashyap] told me he didn’t have the money and I went along with them because those were projects I wanted to be associated with.” With a filmography comprising 15 films in over 20 years, one would assume that he has been picky, but Rao pins his limited filmography on the fact that he hasn’t been offered enough interesting roles. “Also, most theatre actors back then didn’t have a lure for cinema as one would hear horrid stories from those returning from Bombay. They would be so deflated and demotivated, they looked like they had returned from the Afghan war.”

While things have turned around, he says, “When I started out, they wouldn’t even let me read the script. They’d reason, ‘You are in scene 12 and 30, why do you want to read the entire script?’” But with character actors getting their time under the sun, there couldn’t be a better time than now for Rao. “Initially, I would feel like the dulha’s best friend, dancing away to celebrate someone else’s happiest day. Now, I feel like the dulha!”

Amyra Dastur colours her hair blue for Prasthaanam; learns Hindi abuses for Rajma Chawal

Amyra Dastur
Mohar Basu (MID-DAY; July 3, 2018)

Mid-day had earlier reported that, inspired by Rooney Mara’s act in A Girl With The Dragon Tattoo, Amyra Dastur had sported chevrons on her head by shaving off portions of her hair for Rajma Chawal.

Ready to play with her tresses yet again, the actor has now highlighted them blue for Prasthaanam, which she is currently shooting for in Lucknow with Sanjay Dutt and Ali Fazal. Dastur’s decision to take to the colour for her role as an NRI, romantically inclined with Fazal’s character, stemmed from producer Maanayata Dutt’s suggestion, a source tells us.

For the actor, experimenting with her appearance is only another way to understand the character better. “I love playing with my look. I believe it’s our job as actors to bring characters to life. If that requires us to change our look, then so be it.”

Dastur reveals that director Deva Katta was keen to showcase her character with certain quirks. “Based on that, Maanayata ma’am suggested we choose a fun, bright colour. Fortunately, I was allowed to make the pick, and zeroed in on this one since it has never been showcased before. Deva wanted to make the character likeable and modern. Everyone loved the look, calling it ‘different and cool’,” she says.

Meanwhile, talking about Rajma Chawal, Dastur says prepping for the film has enhanced her dictionary of abusive Hindi words. While Adil Hussain taught her the body language required for the part, N K Sharma worked with her on improvisational theatre. “N K sir is a unique teacher. I had to walk around the room for three hours until I learnt how to count in Hindi till 100. He would yell at me whenever I got a scene appropriately [on the second or third attempt], as a way to tell me that i could’ve done it right the first time. My Hindi abusive dictionary has definitely widened because of him.”
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DNA (July 3, 2018)

To play the role of a rebellious girl from Meerut in Rajma Chawal, Amyra Dastur had to undergo intense workshops. She worked on her dialogue skills as this role needed her to have the correct diction. Among the three teachers who taught her was actor Adil Hussain, who trained her in getting her body language right, while she learnt the art of improvising from theatre personality N K Sharma. Veena Mehta trained her in dialogue delivery and diction every day for two hours for one month.

Says Amyra, “I had to unlearn everything I knew about acting to make this character seem fresh and relatable. Anirudh (Tanwar, her co-star) and I were a part of N K Sharma’s theatre group from last October until the first day of our shoot, which was on November 7. We did improvisations and all sorts of acting exercises for about five hours daily. We worked with him for around 45 days.”

Shekhar Kapur told me to head to Mumbai, try my hand at films & earn money-Manoj Bajpayee


Shilpi Mahapatra (MID-DAY; January 1, 2017)

I was in awe of Bachchanji (Amitabh Bachchan) after watching Zanjeer. It was that moment that I decided to become an actor. And so, during my college days, I started doing theatre. I wanted to join the National School of Drama, but couldn’t. So I attended workshops conducted by the Sambhav Theatre Group for almost a year. I would still keep trying to break into NSD, but I reckon it wasn’t destined. So, a friend, N K Sharma, and I started our own theatre company.

It was in 1992 that something that filmmaker Shekhar Kapur said changed my life. He told me to head to Mumbai and try my hand at films. He said that though theatre would satisfy me creatively, I would need the money for when I had a family. And so, I decided to take the plunge. Once in Mumbai, I started my struggle. It was tough since I didn’t know anyone. Luckily, I was called to act in Kapur’s Bandit Queen (1994) as a dacoit. I had auditioned for the lead role, which ultimately went to Nirmal Pandey.

After Satya (1998) released, there was no looking back, until a few year ago when I injured myself. For two years, I had to lay low and read false media reports about me. Everyone had written me off and I lost many projects. I was down to my last penny. And then Prakash Jha offered me Raajneeti, and subsequently, Aarkshan. It was the most challenging phase of my life, but it made me stronger and wiser.

Returning to theatre is always a beautiful holiday for me-Swanand Kirkire


His words have complemented many a tune in Hindi cinema, but the celebrated lyricist, who plays a pivotal role in a recent play, remains a theatrewallah at heart
Reema Gehi (MUMBAI MIRROR; July 24, 2016)

An hour before the rehearsal of Chakkar Chalaaye Ghanchakkar, at the Jamshed Bhabha Auditorium located inside the National Centre for the Performing Arts, Swanand Kirkire seems visibly composed. The lyricist of movies such as Fitoor (2016), 3 Idiots (2009), Lage Raho Munna Bhai (2006) and Parineeta (2005) for the first time essays a full-length role in a play, which opened on Saturday. Written by Gulzar, it draws inspiration from his own film, Angoor (1982), which was based on William Shakespeare's The Comedy of Errors — the play is perhaps director Salim Arif's most ambitious production and he seems rather content with Kirkire's contribution.

The 46-year-old, who played a small role in Manav Kaul's Colour Blind opposite Kalki Koechlin in 2014, says, "Returning to theatre is always a beautiful holiday for me. But acting in a play written by Gulzarsaab means something else. I greatly admire and respect his work," says Kirkire. "The other day when he was at the rehearsals, he told me that he really liked my performance and I was over the moon."

Kirkire credits his achievement to his foundation in theatre. "Whatever work you do in cinema, you do it at a certain time and space, and it reaches people much later and your work is served as a whole package. Theatre offers spontaneity, which I enjoy very much. It not only helps you became purer as a creative person, but it allows you to develop a direct relationship between you and your audience," he shares. "But I must confess, each time I go on stage I feel as nervous and excited as I did the first time."

Hailing from Indore, Kirkire, whose parents Chintamani and Neelambari were disciples of the legendary Kumar Gandharva, dreamed of a career in the business of entertainment. Before he enrolled himself at the National School of Drama in Delhi, Kirkire joined a theatre group and performed alongside actors Manoj Bajpayee, Ashish Vidyarthi and Piyush Mishra. "I learnt a lot from our director N K Sharma, especially the basics from him. It was my beginning in theatre."

At the NSD, where he studied design and direction, he met Satyadev Dubey with whom he shared a "love-hate relationship". The inimitable Dubey played a pivotal role in shaping Kirkire's career. "Everybody knows how Dubey was and is. For me, he's still there in our lives," he smiles.

Recalling an incident when Dubey met him for the first time at NSD, where he would organise classes, Kirkire laughs, "He saw me and asked me to leave. He said he didn't like my face and that it depressed him. I was very upset. I didn't know what to think."

But Kirkire chose to take the personal jibe in his stride and continued hanging around at his rehearsals. "The man had charisma and somehow you wanted him to like you," he says. It was only much later when Dubey heard Kirkire, an untrained singer, croon to his beautifully-penned Bawra Mann for Sudhir Mishra's Hazaron Khwahishein Aisi that he truly warmed up to him. "Before giving it to Sudhir, I sang that song at a party. Dubey was present there and he hugged me after listening to the song, and since then he started to love me," he says. "After that day, whichever play I staged, for instance, Aao Saathi Sapna Dekhe in 2013, he would tell me to stop the play and sing Bawra Mann. When I would argue saying it doesn't make sense, he would respond, 'You don't know how to cash in on your success which is why you're going nowhere'."

Currently, Kirkire is in the process of writing a film for R Balki and songs for Rajkumar Hirani's next (a biopic on actor Sanjay Dutt). According to him writing lyrics for Hindi cinema was sheer "serendipity". "My plan was to make movies," he says "When I was recording Bawra Mann for Sudhir Mishra, Pradeep Sarkar was present and he made me meet Vidhu Vinod Chopra, and that's how Parineeta happened and then it just snowballed into something else. Much like life, really."

I told my wife how many girls I had brought into the house in her absence-Piyush Mishra


Priya Gupta (BOMBAY TIMES; November 2, 2014)

Piyush Mishra, 50, is brutally honest, apart from being extremely talented. Despite a troubled childhood and a morally weak past, he has been able to overcome not just his bad habits, but also evolve spiritually into being a giver and a caring family man. Over a cup of coffee, ahead of his upcoming comedy The Shaukeens, he talks to Bombay Times about his regrets in life, his emotional anchor and wife Priya and why he considers Anurag Kashyap a bad habit.Excerpts:

How did you come into films?
I am from Gwalior. I passed out from NSD in 1986 and did theatre in Delhi before shifting to Mumbai in 2003 to earn money. In Delhi for 20 years, I had only done wine, work and women. I hated the idea of club theatre for a few hours and would do theatre 24 hours, but I was very famous for being unruly and alcoholic. Due to my friend NK Sharma, whose Act One I was associated with from the beginning, I would follow CPM and pretend to be an atheist just like NK himself was, even though in reality, I used to believe in God. I had a terrible tendency to sacrifice myself to please others. I would write, act, compose and sing and he would direct and our friendship was very thick for five years. I fell in love with my Tamilian architect wife Priya and four days after getting married to her in 1995, NK and I broke our friendship. Of course, I made up with him after 7 years and we were back to being friends. At that time, Priya would run the home and look after our two kids. I got my first role in Dil Se while I was in Delhi only. Tigmanshu Dhulia was the casting director and it was on his recommendation that Mani Ratnam gave me the role. But I continued doing theatre in Delhi till I finally felt deprived financially, felt exhausted emotionally, physically and morally and decided to move to Mumbai in 2003.

What do you mean by morally exhausted?
I was severely alcoholic and that killed my morale. I was badly behaved and realised that girls would call me to say, 'What happened to you last night sir? You said such bad things to me.' But I would not even remember what I had said. That's when I realised that there was a problem. I had too much anger, jealousy and the need for sex inside me. They say that alcoholics have the knack of having good wives. Priya observed everything with a lot of patience and took me to an organisation in 2006 for treatment and I realised how weak I was spiritually. Alcohol was just a symptom. The real problem was that I was a ganda, neech person who was morally corrupt. I was totally self-centred, not caring about either my wife or my older son. I started taking my moral inventory by writing it down. When I wrote what I had done, I realised that in 99% cases, I had only done wrong for the last 20 years. The fault in each case was mine and I came to it by consulting some recovered alcoholics, whom I can't name. I cried thinking how I had mistreated my mother and my wife. I then attended a course of Vipassana in Igatpuri in 2010 and that helped me a lot. I finally went back to that organisation that had helped me in 2006, again in 2014. First I suffered pain, then went through a self-guilt trip and then I was told that I not only had to realise that it was my fault, but I also had to say sorry to all those people I had hurt. I thought I would die. But I did finally go and say a sorry to each one of them. And as I did that, I kept getting healed.

How did you face your wife?
I told her how many girls I had brought into the house in her absence. It was very difficult for her and it took time, but today, I feel so light. Today, I love Priya and the kids. I don't know how to balance my emotions now and feel a lot of love for my younger son Jai. I also regret that I could not do much for my older son Josh. Priya has been not just my emotional anchor, she was doing every thing for me while I was torturing her. I had kidnapped her from her home in Chennai to get married and she had left everything behind just to marry me. All through Delhi, I was doing nothing. It's only after coming to Mumbai that I understood what it means to earn. She was very tolerant and she knows everything in and out. Over the last four years, I have become an introvert. While shooting The Shaukeens, Anupam Kher and Annu Kapoor would make fun of me, as I would give my shot and then go to my room. But I saw no reason to socialise. I am very caring and completely transparent and today, my wife and kids are everything for me and I really try that I should not hurt them. Today, I am very generous and feel that I should distribute everything I have. When I had nothing, people helped me. I want to give back now. I know that there has to be a higher power, who helps you get rid of alcoholism and I can feel that power when I meditate.

What was the lowest period of your life?
My childhood was very disturbing, so I got my first taste of family only with Act One. But in 1995, four days after marriage, I left Act One, two months post which my father died. He died after 36 years of opium addiction. He had been a retired upper division clerk and a major failure in life, who was majorly upset with me all throughout my growing up years. It's only when I left for NSD that he felt, for the first time, that I had something in me. When he saw me play Hamlet in my first play and my picture in the Times of India is when he felt proud of me. But, by that time, it was too late as I had cut off from him totally emotionally and would address him as Sir. And I regret that today, as I know that later, he would come and see my plays and he knew that I had talent and he was proud of me. But I grudged him for the fact that all through my childhood, he did not understand me. My aunt (my father's sister) had been married to a man who was 32 years older to her. So when she got married, she first got my father married and then adopted me, so my parents and I lived in her house. Her husband had died before I was born and she was very dominating. My father, by that time, was obliged to her and had become spineless and could not buy a house outside on his own, so continued to take her domination till he died. Her husband had been khandani, but with a zero bank balance. My aunt or my parents did not understand me as an artiste, so I would torture myself by cutting my body with blades with the objective of torturing all of them. That was my way of rebelling. I had always been suppressed and was a moohphat, right from my childhood. I am happy that I was able to look after my mother once I came to Mumbai and she lived with me and blessed me till when she died.

Tell us about The Shaukeens?
Anupam and Annu are both senior to me, but we are all from NSD, so we are all on the same wavelength. They were supportive and tolerant of me. You can only act because of your co-actors. Acting is never done against your co-actors. It is always done with your co-actors. In the film, my character is this man whose wife has died early. I am the richest, least classy and morally, the poorest of the three of us. They are all sexually deprived due to their backgrounds. So they are justifiably needy, but due to social norms, cannot go for it. Every person in real life wants to go and have sex. I too want to, but nowadays, as soon as this snake is standing inside me, my conscience tells me not to and 80%, I listen to it. In the film, they go to Mauritius, where they meet this young girl after which it is a story of leching, then attempt, then failure, then regret, repent and then lastly, they are rewarded poetic justice. After facing failure, they realise that it is morally wrong. It is not a Grand Masti or a Kyaa Kool Hai Hum, but it is a well-written script in which the central idea has been taken from the old Shaukeen.

Have you made friends in the industry?
Tigmanshu Dhulia, Sai Kabir and Anurag Kashyap are my friends. Tigmanshu is very naïve and I have not seen a person so non-corrupt as him. He has not changed at all and even though he never gave me films, for some reason, I never felt bad. Anurag was an admirer of mine from my theatre days. Anurag is a bad habit in my life. I don't want to act with him, but I want to do everything else with him, be it writing or singing or composing, as only he accepts everything that I do. Every person enjoys working with him, but in our case, our egos come in between when I am acting with him. Both, in the case of NK and Anurag, I was willing to do anything for them and was willing to sacrifice myself for them and that was the problem. They would take me for granted and my ego would not accept it. I was in the habit of losing friends and in both cases, it was my fault and I compensated later.

Are you less ambitious in life now?
I am not egoistic now, but was very earlier. But I always was less ambitious. When I started being humble in the last few years is when I started making enemies, as my friends felt jealous. I had always been the dark horse. But it started to disturb me lesser and lesser, as my journey had become stronger and today, it is not that easy to hurt me. I will tell you a Gautam Buddha story. When he was teaching, a lot of sages came and started abusing him. And he would say nothing. So his students asked him why he didn't respond. He asked them, 'Do you have a birthday? If you don't accept the gift someone gives you, it will remain with the person who has given it to you, right? They have given me gaalis, but I didn't take it, so it remained with them.' Till the time you don't want to get insulted, you can't get insulted.

Dino Morea shows his sardar pic to Sanjay Gupta; bags Mumbai Saga

Finding Dino
Vickey Lalwani (MUMBAI MIRROR; February 22, 2014)

Two years ago, Dino Morea candidly admitted that he had no offers and didn't want to be tagged a flop actor by doing bad movies. Then he disappeared. Last week, the 38-year-old returned from a six-month stay in Delhi. He had enrolled with NK Sharma's theatre group to reinvent himself as an actor.

Says Dino, "When I was producing Jism 2, I was itching to act in the film. I wondered what I was doing wrong. I was told to join acting institutes in New York/London, but I wanted to train with someone with Indian sensibilities. Sharma and I hit it off instantly and I moved to Delhi. For the first few days, I felt awkward, but eventually, I settled."

For six days a week, Dino took seven-hour lessons from Sharma, from 3 pm to 10 pm. He also did several plays and learnt that there are different ways to approach every role. "Now, I can play a character like a performer. Earlier, I was just acting for money and to be a part of big setups," he says, adding that interacting with his colleagues in Hindi helped. "Perfection in Hindi is a must in Bollywood. It changes your thought process."

He insists that even his body language has changed. "Now when I approach filmmakers for roles, I can convince them not to look at me just as Dino Morea. I can make any character believable," he asserts.

Sanjay Gupta has signed him to play an industrialist in his next film, Mumbai Saga, after Dino showed him this picture from one of his plays in a Sardar get-up. Says Gupta, "Dino was very good in my film Acid Factory. What happened to him happened with John Abraham too. Here people have preconceived ideas that models cannot act. We need to give these guys time and good roles and not simply write them off. Hats off to Dino that he has returned to prove a point."