Neeraj Pandey discusses fate of Khiladi Kumar-starrer Crack and explains why he is holding off a Baby-led franchise on special forces
Himesh Mankad (MUMBAI MIRROR; March 27, 2020)

Neeraj Pandey’s last directorial, Aiyaary, featuring Sidharth Malhotra and Manoj Bajpayee and revolving around the Indian army, did not live up to expectations. While many would blame it on the change of release date, with the espionage-drama pushed ahead by two weeks, the writer-director doesn’t mince words, observing, “It didn’t connect with the audience, so there was an obvious problem. We fell short when it came to telling the story in the best possible way.”

After Special 26 and Baby, Neeraj and Akshay were to reunite for a psychological-thriller titled Crack. There has been no news on the project after it was announced with a poster in 2016. “It’s on the back-burner with no immediate plans of revival. I was not happy with the script, but if I manage to crack something good in the future, I might (revive it),” he informs.

The duo made a formidable team, delivering content-driven films which worked commercially too. Is another reunion on the cards? “There has been no fall-out with Akshay, so, why the question of a reunion? I am moving on with Chanakya (led by Ajay Devgn) and he is doing other films. It’s a great responsibility for both of us and we have to wait for the right project,” he reasons.

With Rohit Shetty creating a cop universe on celluloid with Sooryavanshi, you wonder if Neeraj, who has directed films like A Wednesday, Baby, Naam Shabana and Aiyaary, is thinking of a spy universe. Neeraj retorts that contrary to popular belief, he is interested in “great stories” and not just the ones revolving around spies and special forces. “Be it Toilet - Ek Prem Katha (which he produced), Baby or M S Dhoni - The Untold Story, it’s the merit of the story and not the genre or backdrop that matters. The idea is to chase great stories which can be shared with a larger audience,” he explains.

Prod him if there are plans to turn Baby into a Special Forces series—the film was fronted by the Khiladi Kumar, one of his frequent collaborators—and the filmmaker says, “I don’t want to take the easy route. I will do it at the right time with the right script, something that is capable of taking the franchise forward, and figure out a mechanism to work it out,” he concludes.

Director Neeraj Pandey, who makes his digital debut with Special Ops, on how the concept of the espionage thriller struck him during the making of Baby
Letty Mariam Abraham (MID-DAY; March 17, 2020)

Adept at creating espionage thrillers, Neeraj Pandey has turned to the digital medium to tell his latest story, Special Ops, which revolves around the Indian intelligence service's 19-year manhunt for a dreaded terrorist. He may have woven fiction with real-life incidents, such as the 2001 Parliament attacks and the 2008 Mumbai terror attacks, but the director agrees that developing such material demands exhaustive research.

Pandey says he has spent the last five years with the concept that struck him during the making of Akshay Kumar-starrer Baby (2015). "I stumbled on this incident [lesser known facts about the 2001 Parliament attack] during the filming of Baby. I couldn't do anything with the research material at that point of time as we didn't need it [for the script of Baby]. But it stayed with me. Later, when we were planning [a web series centred on it], it all came back. The research took a long time, and once we had fixed the format, it took about four to six months to film it," he shares.

The eight-part series is fronted by Kay Kay Menon, whose character Himmat Singh is in hot pursuit of a terrorist, who is the mastermind behind several attacks in India. While the thriller has a glorious ensemble cast, Pandey asserts that he couldn't imagine the story without Menon taking centre-stage. "Kay Kay was the only choice; we didn't have to look beyond him. Several incidents [terrorist attacks] are merely touch-points and political milestones that exist in the recent history of our country. There is a pattern behind everything that occurs and RAW officer Himmat Singh tries to connect the dots."

Rachit Gupta (BOMBAY TIMES; August 30, 2018)

Filmmaker Neeraj Pandey, who had written and directed Aiyaary earlier this year, has another budding passion. He’s an author and a few years ago, had published a book, too. Reportedly, he’s also working on a film based on the historical character of Chanakya with Ajay Devgn. But when he’s not busy directing movies and shuffling through dozens of film scripts, Neeraj finds creative excitement in writing novels and short stories. Off late, he was working on a Hindi version of his book, which releases today in Delhi, at an event that’s hosted by popular Bollywood lyricist Manoj Muntashir. Neeraj’s good friend, Manoj Bajpayee, is going to read excerpts from the book, too.

Talking about his passion for creative writing Neeraj says, “Since the book was published in 2013 and the Hindi version is out today, I’ve somehow managed to find the time to write, in essence, two books (laughs!). I love the process of writing. Unlike filmmaking, which is a collaborative process, writing books, stories and short stories is a very individual and intimate experience. Writing books is a more satisfying creative pursuit, when compared to making movies.”

Neeraj enjoys the fact that, when he writes a book he doesn’t have to rely on other people. He adds, “One of the best things about authoring a book is that time doesn’t pose too much of a problem. You get the creative freedom to explore ideas and thoughts at your own comfortable pace. Writing a book is far easier than making a film. It’s a faster process too, because you don’t have to depend on other people’s time or creative inputs. You don’t have to work with a crew of 100-200 people and don’t have to align each and every one to your vision. It’s just between you and a laptop, so all you have to do is to just keep typing.”

Books and literature are the number one source of inspiration for films, but Neeraj hasn’t yet finalised any plans of adapting his book, Ghalib Danger, for the big screen. He says, “We have that offer open, we don’t mind adapting this into any medium, it can be a web series or even a feature film, but as of now, the only focus is to release and promote this story in the book form.”

Neeraj writes both in English and Hindi, but he obviously sees an added advantage of writing in the local language. He says, “When I write my films, the script and screenplay is always in Hindi, so getting the nuances and the details of this story in Hindi wasn’t a problem for me. It was great fun, because there are so many things you can do with a certain language. When you write in English, you tend to write and express yourself in a certain manner. When you write it in Hindi, you get the liberty to write, express and ideate in a language that’s closer to the readers in India. Therefore, you can use the language to your advantage and enhance the scope of creative writing and engaging the emotions of the readers.”

Apart from the Chanakya project, Neeraj is working on other films too, but nothing has been locked in yet. He’s also written quite a few short stories and could publish them in a book, too. He says, “There could be a short story compilation in the offing sometime soon, but again, there’s no concrete plan to do so. In terms of books and films, I’m working on a few ideas right now, but they’re all in the nascent stages.”

Nayandeep Rakshit (DNA; February 17, 2018)

Neeraj Pandey’s name has always been associated with quality cinema. Mindless or masala movies are just not his cup of tea. Here, the filmmaker talks about his new film Aiyaary, and handling sensitive subjects with ease. Excerpts:

People have certain expectations from your films. Does that bother you?
I’m not a victim for sure. And honestly, if people expect content from my films, then that’s my earning. I love the fact that people are pre-conditioned when they watch my films. It’s not a burden, but an asset.

Have your sensibilities changed from the time that you began your career?
We’re a little older now. So there’s more maturity and experience. You tend to be conscious of the fact that you can’t let your audiences down. For me, they are of paramount importance. When they’ve liked my films, there has not been a bigger gratification and that’s what has kept us going as a creative person running my company. I hope that continues.

What triggered a film like Aiyaary?
I was working on Baby when this started. I was meeting a lot of people from the armed forces and in one specific interaction that I had, the idea of the story germinated. Then, obviously, I went on to do M S Dhoni - The Untold Story. Post that, we were figuring out what to do next. That’s when the thought of that idea came back, I started doing my research and wrote the script.

With the Dhoni biopic raking in such numbers, is there a pressure to make a bigger film now?
Not at all. I always knew this film will not be as big as the Dhoni biopic. I don’t expect it to achieve those numbers because it’s a very different film. That film had more mass appeal. As a storyteller, it was a safe film. I am not running down the work on that film, but conceptually, it was easier. We just had to execute it well. We had to just surprise the audience. Aiyaary is not a very ‘massy’ film, but at the same time, it’s an interesting movie. You will get to see things you’ve never seen before or that people don’t want to talk about. Aiyaary is closest to my first film, A Wednesday, in terms of its tone and tenor. This was a difficult film because it’s like getting into a dark tunnel as there were no references. You have to find a way. We loved the fact that the journey was unique for this film.

Were you ever apprehensive about Aiyaary, given that it’s made on a sensitive topic?
I wasn’t apprehensive, but there’s definitely an unwritten rider, which I’m very conscious about, as a writer. You have to say things in a certain manner. We have spoken about several issues since our first film and the reason why we have got that acceptance is because of the fact that we aren’t jingoistic. We aren’t running people down and we are not into just sensationalism. It’s never been our approach. It’s not that these things don’t happen, but have they been spoken about? No! Which is why we are making the film. The army is an institution that we have tremendous respect for. Baby was our way of showing respect to them and Aiyaary is also in the same league and spirit.

But people get easily offended today. Does that curb a lot of cinematic liberties?
A film’s journey always starts two years before it is actually released. Do saal pehle haalaat kuch alag the. Now, with something suddenly happening to one film, a lot of our perspectives also get muddled and clouded. Yes, I do agree that suddenly people have become too sensitive. We all get put off by anything. At the end of the day, if you have a problem, don’t watch it. Then, there’s the CBFC, which is responsible and takes good care of what’s right and what’s wrong. So, that should be respected.

Sidharth Malhotra has never explored this space before. Was he your first choice?
Yes, he was. I wanted someone who’s vulnerable but can also come across as a strong person. We wanted that combination and Sidharth was a natural fit for that. He is playing a young major in the film and he was the only choice in the film.

Are you happy that content-driven films are not given the tag of unconventional cinema anymore?
That’s the reason we’re here. They have accepted and embraced such films. It’s only getting better for all storytellers. If a film is executed properly, it will do well. That trend is very healthy.

Renuka Vyavahare (BOMBAY TIMES; February 8, 2018)

After a prolonged delay, filmmaker Neeraj Pandey’s thriller Aiyaary finally got a clearance from the Censor Board on Tuesday. The film will hit screens on February 16, three weeks after its original release date, January 26. After being revised by the CBFC, a special screening was held for the Ministry of Defence (MoD) on Saturday, post which certain changes were suggested to the makers. When BT spoke to Neeraj, he explained, “Right when our trailer came out, we had a request from the Ministry of Defence. The CBFC stepped in at that point and said that they would review the film first and then let the MoD give their opinion. If you look at the trailer, you see people in uniforms — officers of different ranks, right from the Chief of Army. The army is very particular about the details, including the uniforms. We had taken great care while shooting, but they were of the opinion that if there was something wrong, they could point it to us and give us time to rectify it. I’d rather have an opinion from them before the release.”

Speaking of the recommended modifications, Neeraj assured that none of the changes will affect his film. “There are no cuts, only modifications. We were asked to change a few dialogues, so we opted to go mute in certain places and change the dialogue in certain others. I don’t think these changes will affect the film. As a writer and storyteller, I like to express myself in a particular way. However, when suggestions are made, you try to understand and see the other person's point of view. The MoD is responsible for one of the most prestigious institutions (Indian Armed Forces) in our country. They understood very well that we are not out there to tarnish their image. We are very particular of the reputation and the responsibilities that go with the institution. The changes that were asked from us were just to avoid any misinterpretation.”

Given the constant scrutiny that filmmakers are subjected to of late, on account of authenticity and misrepresentation, has it curtailed their freedom somewhere, we wonder. The Aiyaary filmmaker replied, “We cannot discard human error, but we have always been responsible. I had no problem with the MoD seeing the film after the CBFC, it’s just that the loss of 10 days shouldn’t have happened. We could have come out on February 9. The writer in me negotiates in a manner that I manage to say things without getting into any sort of controversies. I hate controversies and I have no time for them. Right from my first film, I’ve managed to speak my heart out on issues and I shall continue to do so.”

Giving a lowdown on the cause of delay, Neeraj explained, “We applied for the censor certificate on December 19 last year and we had a censor screening on January 22. We were asked for a few changes on the 23rd by the examining committee. We were willing to submit those modifications the next day itself, expecting the censor certificate on the same date. However, after the examining committee saw the film, they had a request from the MoD to see the film as well. Then the entire exchange of communication between the CBFC, I&B Ministry and MoD started and it obviously took time for them to form the revising committee who would see the film with the MoD officials and reach a consensus. That screening was only possible on Saturday. In spite of it being a weekend, the ministry officials graciously agreed to come along and watch the film. They recommended what they felt to the CBFC, who then conveyed it to us. The actors were out of town at that time, and getting them to do the modifications required coordination, so we ended up losing a few more days. We finally got the censor certificate on Tuesday.”

Dismissing speculation that he didn’t submit the film on time to the CBFC, he clarified, “Who said so? That’s not true. You can check the timeline with the CBFC. The examining committee recommends whatever they feel and you are supposed to submit those changes to the CBFC, but in our case, we were asked to hold on and not submit those changes. We had reworked and were ready to submit the revised one, but we were asked to submit the original copy. The revising committee wanted to see the film that we had first submitted. Tremendous amount of confusion and miscommunication resulted in this delay, which is very unfortunate, but I am thankful to the CBFC and the MoD. We requested them to expedite the process and they worked round the clock to get it done.”

Despite the prolonged delay, the director has no regrets. “Whatever could go wrong has gone wrong. We have been subjected to Murphy’s Law, so I am looking forward to the February 16 release. Every film has a journey and if you understand show business, you will know that the chances of things going wrong are more than things going right. We wanted the film to be out on January 26, but look at what happened. There was a domino effect — Padmaavat went through its own trials and suddenly, they had a window. They came out on 25th and we moved to 9th and now we are in a situation where we are moving to the 16th! You can’t do much about it except for addressing the issue in the most organised way as it depends on a lot of people and you need consensus.”

Lasyapriya Sundaram (BOMBAY TIMES; January 29, 2018)

Neeraj Pandey is a man of few words, who lets his films do the talking. He has successfully dabbled in writing, directing as well as producing films. With his fifth directorial venture, Aiyaary, all set to hit the screens, the director talks to BT about how writing is the most important aspect of filmmaking, why he likes keeping a low profile and how he doesn’t feel that artistic expression is under any threat in the country. Excerpts…

Is Aiyaary a quintessential Neeraj Pandey film?
The seeds of Aiyaary were sown during the shoot of Baby (2015), when we were interacting with personnel from the Army and intelligence services. The title, Aiyaary, has been on my mind for a long time. It’s from the fantasy novel, Chandrakanta, written by Devaki Nandan Khatri. The word means ultimate trickery. The title is apt for the story in which a Colonel (Manoj Bajpayee) plays mentor to a Major (Sidharth Malhotra) in the Indian Army. Sidharth looks up to Manoj’s character, but the story reaches a turning point when they have conflicting views about a situation.

When you make a film which evokes patriotism, do you also ensure that it’s not jingoistic?
Absolutely. One should never lose the context in which the story is told and I don’t have an agenda. However, when you make a film like Baby, you inadvertently speak about the country and the people who will go to any extent to protect it. Similarly, this film is about the Armed Forces and how they are serving the nation. So, it has patriotic fervour.

Being a civilian, when you narrate a story about the Armed Forces, how do you keep it as real as possible?
If you are a responsible storyteller, you will ensure that nothing in a film like that is demeaning. In fact, I have more friends in the Indian Army than in the film industry, which proves that they have a sense of comfort when they share their experiences with me. They feel that I am worthy of their faith and trust. Also, my interest in narrating such stories stem from the fact that I have extended family in the Armed Forces. I grew up in a city which encouraged cultivating interest in all kinds of stories, but thrillers attracted me the most.

Do you write scripts keeping the cast in mind? Also, with a significant body of work, there is a lot of expectation from your films. Do you feel the pressure?
I think writing a script with a certain cast in mind is a terrible way to pen a film. Firstly, one needs to be honest about the material, and somewhere down the line, you start seeing faces that fit the bill. Talking about pressure, I choose not to be aware of its trappings. For me, the story has always been paramount, and it will remain so.

You also turned producer with your directorial debut, A Wednesday and ever since, you have co-produced quite a few films. Does being a producer help you to maintain your creative integrity?
Nobody was willing to produce the first film that I directed. So, I became a producer by default and yes, it has empowered me. However, it also comes with a sense of responsibility because the stakes are higher with each film. It’s a combination of risk and adventure, which I like.

Unlike other filmmakers, you keep a low profile...
I would actually prefer a no-profile scenario (laughs). One of the key reasons is that basically I am a shy person. I feel comfortable about not being visible on social media platforms and to be honest, my handles are managed by my team. In fact, I opted for a verified account to put a stop to the number of fake accounts that had come up under my name.

Toilet - Ek Prem Katha, which you co-produced, was successful at the box office. The issue that it dealt with was in accordance with what the current government was drawing people’s attention to. But a section of people also viewed it as propaganda. With such social subjects, there’s always that risk, isn’t it?
The story was in the making for three-and-a-half to four years. After Siddharth Singh and Garima Wahal (the writers) first approached me around three years ago, we kept improvising the story with each draft. Akshay Kumar was keen on being a part of the film, though he had only heard the idea. But once he came on board, we had to tailor the script accordingly and that took time. Also, the problem highlighted in the film is not something new.

A director will always be the captain of the ship but even today, the industry continues to be star-driven. Does it make the task of a director tougher in this scenario?
Since I write my own material, for me, the director is less important than the writer. I have a lot of regard for the writer. So, I believe the director has to listen to the writer and that in my case makes the process of filmmaking easier. I have never believed in the star system, and my films have essentially been about the content. The star is an enabler and pushes the film in a different orbit, but when we embark on a film, the content is paramount.

While your films are works of fiction, they are rooted in reality. But given the kind of opposition that was faced by a recent film, which was based on history, would you now be even more careful about what you write?
I have always been careful and cognisant of it. There is nothing new that I have to do in this regard. I am responsible when I speak for the characters in my films. That’s not something that I have to attune myself to. More than being restricted, I feel responsible as a writer.

Neeraj Pandey as he looks back on a decade in show business that started with the now cult film, A Wednesday
Avinash Lohana (MUMBAI MIRROR; December 19, 2017)

You reunited with Naseeruddin Shah for Aiyaary, your upcoming Republic day release, a decade after your directorial debut, A Wednesday.
(Smiles) Aiyaary is closest to the film I started with, and since it belonged to the same genre as A Wednesday, it was imperative to have Naseer saab. Ten years ago, on the last day of my first film, I was shooting with him in an under-construction building. Coincidentally, I started Aiyaary with him on a similar location and in many ways it was like picking up from where we had left off.

How did the idea of this thriller-drama, set against an army backdrop and revolving around a mentor and a protégé, come about?
It began subconsciously when I was filming Baby. I interacted with a lot of people from the army and a seed was sown. Then after the release of the Dhoni biopic, my mind drifted back to a couple of incidents I’d heard at the time. ‘Aiyaary’ is a Persian word which I had first come across in Devaki Nandan Khatri’s novel in which he referred to them as shape shifters (aiyaars) and the tricks they perform as ‘aiyaary’.

Manoj Bajpayee who was brilliant in Special 26 has said that Aiyaary is one of your best scripts.
I value his opinion, but I’d like to believe that my best is yet to come.

Most of your films have a patriotic slant. Don’t you want to experiment with a no-brainer comedy or a love story some day?
I made Ouch, a black comedy, a genre not everyone is comfortable with. And my first script was a love story which unfortunately never got made as we couldn’t come up with the resources and get the actors we wanted.

Any regrets?
No, I’ve got over it. May be I’ll give it to someone else to direct it at some point.

Sidharth Malhotra’s last few films—Baar Baar Dekho, A Gentleman and Ittefaq— haven’t done well. Wasn’t it a risk to cast him him in Aiyaary?
When you start work on a project a year-and-a-half ago, you don’t know what the talent’s journey will be like. It’s not my business to know how these movies fared; I can only focus on my film. Besides, Sidharth is very hard-working and would come for rehearsals and readings on time. Every film is a risk on multiple levels. But once you put your faith behind a particular talent, there should be no doubt, only the confidence to play around with the talent.

Aiyaary releases on the same day as Akshay Kumar’s Pad Man. Considering that you’ll have worked together on Special 26, Baby, Naam Shabana and Toilet: Ek Prem Katha, did you ever discuss shifting one of the films?
We knew from day one that Aiyaary would come on January 26, 2018, because the subject lends itself to this date. I don’t concern myself with what other people are doing. The decisions we take involve several other people who rally behind the project and calls are taken after a lot of deliberations. I believe the films are chalk and cheese so there is no issue in them releasing together.

What’s happening to Crack, featuring Akshay?
It’s on the backburner for now as I’m not happy with the way the script has shaped up. When I find the time, I’ll go back to the material and see how it can be reworked.

There were reports of a fallout with Akshay. True?
That question doesn’t merit an answer. Why would there be a fallout? On what? There are absolutely no issues on any front.

After the release of M S Dhoni - The Untold Story, you were accused of glorifying the cricketer and not highlighting his flaws and controversies in what turned out to be an agenda film.
I had said before the film released that the Dhoni biopic was about the making of the man and the talent. It ended with the 2011 World Cup, a milestone in his life and that of Indian cricket, and most of the stuff that is in the public domain came in only after that period of time. It just seemed appropriate to end with a boy from Ranchi on the world stage achieving this big win for the country along with his teammates. That was the arch of the story.

How do you look back on your decade-long journey?
I’m not satisfied as a filmmaker as I still believe all the films I have directed have room for improvement. I have to live with that knowledge but I can learn from my mistakes and not repeat them. Fortunately it’s been a great run for our company as we have managed to work with the stories we believed in.

What do you do when you’re not working?
I like to read and I enjoy discovering new places. (Laughs) So, I just try to find an excuse to travel and sometime plan mock recces.

Madhureeta Mukherjee (BOMBAY TIMES; March 30, 2017)

Rachana Dubey (BOMBAY TIMES; September 27, 2016)

Detailing slip-ups in Akshay Kumar-starrer 'Rustom' still 'irk' the producer Neeraj Pandey
Shilpi Sampad (MID-DAY; September 9, 2016)

Akshay Kumar's Independence Day outing, 'Rustom', may still be running in theatres, but a tinge of regret lines the producer's joy. When the thriller, based on the infamous 1959 Nanavati case, hit theatres, critics were unforgiving of the glaring loopholes. Some also pointed out that the film lacked the 'Neeraj Pandey flair', although he'd only produced it.

Ask Neeraj about it and he says, "The fact is that Tinu Suresh Desai (Rustom's director) worked hard on the film. I was not happy with the detailing in so many ways, because with the kind of movies that we make, Shital (Bhatia, production partner) and I are careful to not get basic facts wrong. That's why we had on board an ex-Navy officer (Vipul K Rawal), who is the writer of the film as well, to look at these kinds of details. But somewhere it (the detailing) slipped. That irks me."

Neeraj, who is now lending finishing touches to his upcoming biopic, M S Dhoni - The Untold Story, as director also doesn't want to make much of Rustom's BO battle with Hrithik Roshan's Mohenjo Daro. "That wasn't the first or the last time that two films had clashed (in theatres). So, I don't think too much about who wins. We are just having fun and trying to do good work," he adds.

Neeraj Pandey who has filmed his biopic in Captain Cool's home, school, railway quarters and other real locations, dishes out lesser known nuggets from the cricketer's early life
Roshmila Bhattacharya (MUMBAI MIRROR; August 24, 2016)

Neeraj Pandey on why he chose to cast Akshay Kumar and Sushant Singh Rajput against type, reveals he has bought the rights to a Hussain Zaidi bestseller for a web series
Roshmila Bhattacharya (MUMBAI MIRROR; August 9, 2016)

Neeraj Pandey candidly admits that he had trouble finding backers for his debut film, A Wednesday. That's the reason Friday Filmworks, the banner he set up with Shital Bhatia, came about. "We were not equipped to set up a production company, it was born out of default so we could make the film we wanted," he acknowledges.

Eight years on, after talks to ensure that they were on the same page, the duo joined hands with Reliance Entertainment for an equal partnership joint venture, Plan C Studios, whose first co-production, Rustom, opens this Friday. "The collaboration gives us more freedom to express ourselves without thinking about market constraints and other trappings," Neeraj smiles.

Rustom is loosely inspired by the KM Nanavati case. The Parsi naval commander shot dead his wife Sylvia's lover, Prem Ahuja. The jury of the Greater Bombay Sessions Court pronounced him "not guilty" under Section 302 with an 8-1 verdict but Judge Ratilal Bhaichand Mehta referred the case to the High Court which agreed with the prosecution's argument that the murder was premeditated, and sentenced Nanavati to life imprisonment for culpable homicide amounting to murder.

On November 24, 1961, the Supreme Court upheld the conviction. But after three years in jail, Ahuja's sister, Mamie, was persuaded to forgive him and Vijaya Lakshmi Pandit, then Governor of Maharashtra, pardoned Nanavati who migrated to Toronto with his family.

In 1963, RK Nayyar's Sunil Dutt-Leela Naidu-starrer, Yeh Raaste Hain Pyaar Ke, despite a disclaimer that all people and incidents were fictitious and altering the case's outcome, had a similar storyline even though the screenplay was said to be have been written before the case made headlines. More recently, Soni Razdan's on-the-floors Love Affair draws from the same source. With facts only a Google away, wasn't it a gamble going ahead with the Tinu Desai directed Rustom?

"Vipul Rawal's story is only loosely inspired by Nanavati's and has integrated another fictional element. I don't know much about the contemporary film, but Yeh Raaste Hai Pyaar Ke released decades ago. For us, it was an interesting story to tell today as it was a landmark and the jury system has since been abolished," reasons Neeraj.

He has established himself as a filmmaker who steers clear of formulae, bringing stories with a semblance of truth. He is also responsible for Khiladi Kumar's transformation through films like Special 26, Baby and Rustom. Neeraj refuses to take credit for the makeover. "Akshay was hungry for different roles and ready for risks. His appetite got Special 26 going. He followed it up with Baby, Rustom and Airlift which wasn't our film. I believe in anti-casting, I offered him Special 26 to explore a different side to him as an actor. He believed in me and vice versa, this trust has kept us going," he says.

Signing Sushant Singh Rajput to play MS Dhoni in the upcoming biopic, M S Dhoni - The Untold Story, was another casting decision that went against type and was met with scepticism. Today, Neeraj reveals that even the actor admits to being surprised by what he has done while dubbing: "But I'm not surprised, I was expecting it," he asserts. "I could see that he was training himself, both as a player and actor, during the readings, getting there. Sushant has an unquestionable amount of discipline, is hungry and yet wasn't doing much work. It worked in his favour."

Point out that all the secrecy around M S Dhoni - The Untold Story, along with the change in release date has lead to speculations, including reports that the real Dhoni was unhappy with the film. "Work started when we were shooting for Baby, it's been two-and-a- half years since but because it's a biopic you can't stop rumours. They can't impact a project like this which has a life of its own and can't be hurried," he argues, adding that the stories about Dhoni being unhappy are baseless. "But we choose not to give justifications or clarifications, the film will be out soon."

Meanwhile, he's in talks for the rights of several books, including S Hussain Zaidi's Mafia Queens Of Mumbai which is being developed into a web series. "Barring the stories Hussain has already sold to other makers, we have bought the rights to the rest for a digital series, including some he was planning to use in a sequel to the book. We are also in talks for another novel and developing my own, Ghalib Danger. As makers we are constantly looking for material," he says.

Meanwhile, while a follow-up to A Wednesday is out of question "because that story is done", sequels to Special 26 and Baby are in the works, and a new production which should roll in a couple of months could also spin a franchise. "There's no rush... No deadlines or finishing lines on projects. We don't have a target of making five-10 films, we will grow as we go along," he signs off.

Neeraj Pandey on the cross-border villain of his upcoming film, the Special 26 sequel and MS Dhoni's biopic
Roshmilla Bhattacharya (MUMBAI MIRROR; December 13, 2014)