The song Sarke Chunar from KD - The Devil has sparked controversy, from backlash over its lyrics to a reported fatwa against actor Nora Fatehi, who features in the track. Amid allegations that the outrage was orchestrated for publicity, director Prem has denied any such intent.

“I don’t want any controversy. Mine is an emotional film, and the song is meant to be something people dance to at parties. It’s been well received in Karnataka and Kerala. Why would I want controversy?” he says.

Prem explains that while he wrote the original Kannada lyrics, the Hindi version was translated by lyricist Raqueeb Alam. He admits he was unaware of the specific wording that later drew criticism. “Everything went smoothly with the Kannada original. I didn’t understand the Hindi words used in translation as I am not fluent in the language. I come from a village where phrases like ‘neeche mat gira, uthao’ are part of everyday speech, it’s Janapada,” he adds.

The filmmaker says the contentious lines have now been revised and the updated version will be sent to the Censor Board. Expressing regret, he says, “If anyone is hurt, I am very sorry. Our big film faced a small lyrics issue, but it has been blown out of proportion. There are so many larger problems in the world, war hai, LPG gas ki problem hai toh kyun ek gaane pe itni badi controversy kar di?”

The recently released lyrical video of Sarse Ninna Seraga Sarse from KD - The Devil, starring Dhruva Sarja, Reeshma Nananaih, Shilpa Shetty, Nora Fatehi and Sanjay Dutt, has sparked a wave of criticism online, with some netizens calling its lyrics and visuals ‘vulgar’ and ‘regressive.’ Just a few hours after the song was released, several users described the track as ‘regressive,’ arguing that it reinforces outdated stereotypes about women under the guise of mass entertainment. 

A section of viewers also took issue with the choreography and styling, saying it leaned heavily on “male gaze-driven” presentation rather than narrative relevance. Critics on social media pointed out that such songs continue to normalize problematic portrayals, especially in big-ticket films featuring stars like Dhruva Sarja and Sanjay Dutt. Others questioned the creative choices, asking whether commercial appeal is being prioritized over sensitivity and evolving audience expectations.

In an exclusive conversation with Bangalore Times, director Prem defends his recent song Sarse Ninna Seraga Sarse, saying the outrage is premature and rooted in misinterpretation. Director Prem, who has also penned the lyrics, calls the backlash “misplaced” and urges audiences to reserve judgment until the full video is released. “If one’s angle of view is right, they won’t take this song the wrong way. Why is it that whenever a woman is involved, people assume the worst?” he asks.

Prem insists the lyrical video was only meant to pique curiosity, a standard practice in film promotions. “People are reacting without watching the actual video or understanding the context,” he says, adding that he is open to criticism — but only after the complete song is out.

Addressing specific concerns about the lyrics, Prem explains that the song uses metaphor and wordplay, which may not be immediately obvious. “The entire song revolves around the ‘bottle’. I can’t keep repeating that word — it loses its charm. The visuals will make it clearer,” he explains. He points to specific lines in the song that, according to him, carry a deeper meaning. In the first verse, he writes “Kaiyal baatlu antha manevargo thakkondu hogbedi…” — a line he says is a caution against taking one’s drinking habits back home.

In the second verse, he adds “Meese hotthorigella, naan ondu question kella…”, which according to Prem the character questions men about why they seek time outside when they have a loving wife waiting at home. Prem maintains that these nuances are being overlooked. “People are not listening to the lyrics precisely before pointing out mistakes,” he says, reiterating that the full video will offer better context to the metaphors used.

Prem says he is not dismissing criticism but believes systems exist to address such concerns. “We have the Censor Board for a reason. I trust them and will stand by their decision.” He clarifies that while the Hindi version of the song has been taken down, he is not directly involved. “A different team handles the Hindi release,” he says, adding that the Kannada version will remain. Standing by his work, Prem reiterates that his intent is to entertain, not offend. “If a small section wants to label the song, they are free to. But I know I mean no harm.”

The recently released track Sarke Chunar Teri Sarke, featuring Nora Fatehi and Sanjay Dutt, has triggered widespread backlash online over its lyrics, with much of the criticism directed at lyricist Raqueeb Alam. The track, part of the upcoming pan-India film KD - The Devil, was originally written in Kannada by the film’s director, Prem. Alam’s role, he says, was limited to translating the lyrics into Hindi.

As criticism over the song continues to escalate, Alam spoke to Bombay Times, alleging he was wrongly credited with the song’s lyrics. Opening up about the sequence of events, Alam claimed he had refused to write the track when he was approached by Prem.

He says, “Koi bhi lyricist aisa nahi likhega. Mujhe jab Prem ne likhne bola toh maine mana kar diya. I told him yeh theek nahi hai. Then I was told to just translate the Kannada song (composed by Arjun Janya) word for word – like ‘This is my book’ to ‘Yeh meri kitab hai’. So, I translated it and gave it to him. Prem told me, ‘Main dekhta hoon, main manage karoonga isko’. He then adjusted it with the meter and recorded it.”

Alam further alleged that he had explicitly asked not to be credited for the song. He says, “When I gave him the translation, I had told him not to credit me as a lyricist for this song. After that, maine ek baar bhi woh Hindi translated song nahi suna. Kisne gaya, kahan record kiya, kuch bhi pata nahi tha mujhe. Only after the song was released did I find out that he had given my name in the credits, and I called him immediately. Maine uspe bahut chillaya, and I told him to remove my name and put his own or pull the song down completely.”

According to Alam, the director later agreed to take the song down. “Prem said that he would remove the song, and that eventually he did it, but by then the damage was done,” he said.

Calling the episode a "betrayal", Alam said, "Mere saath dhoka hua hai. This wasn't right. Mere bhi bacche hain, family hai. Main aise song ke saath kaise associate ho sakta hoon? Kal mere bachche mujhse puchenge ke aapne apne zindagi mein iss tarah ke gaane likhein? Toh mein kya jawab doonga?”

The lyricist, who has previously translated songs like Srivalli for Pushpa: The Rise - Part 01 and its sequel, as well as for films like Master, Jailer, Leo, and Varisu, among others, also underlined that he has consistently spoken out against vulgar content in music.

He said, “I have been someone who has spoken against vulgar songs in the past. Main khud bahut aware rehta hoon ki mujh se aise alfazon ka chayan nahi ho jisse hamare samaj pe, bacchon pe bura asar pade.”

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"Once you sign a contract for a film, you are bound to fulfil its requirements. I refused to be part of this track once I read the Kannada lyrics, but I was asked to translate them into Hindi, and I had to fulfil my role as per the contract. I had told the director (Prem) not to credit me as a lyricist for this song"

-- Raqueeb Alam

“I find myself in a good space today,” says Sanjay Kapoor, who has recently been seen in a string of interesting OTT projects. The actor seems to be in a phase where he is reinventing himself with every new project that he is doing. He talks to BT about how it took him so long to get his due and how he feels about where he is.

Self-admittedly, Sanjay, who will soon be seen in Sriram Raghavan’s film ‘Merry Christmas’, is in the best phase of his career with the kind of work he is doing on the OTT medium.

He says, “OTT has ushered in a great phase not just for me, but for most actors. For one, age is not a bar. Secondly, it is not dependent on the hits you’ve given. It’s no longerki ye bikta hai toh agar ye theek bhi kar lega toh chalega. It is sheer hard work, experience, and talent that will get you good projects. It’s a change that we are seeing in the film (big screen) scenario as well. Today, content is king, and good content needs talented artistes. OTT has extended the longevity of an actor as well as films. In fact, it has revived the 90s for me.”

Sanjay was once dubbed ‘the oldest newcomer’ in Bollywood when his debut film, ‘Prem’, took six years to complete. He was 30 when his first film hit the big screen.

He recalls, “Shekhar (Kapur) was to direct it before Satish Kaushik took over. It didn’t happen for some reason, and I lost out on my prime years for no fault of mine. ‘Prem’ and ‘Raja’ were released a month apart in 1995, and people rejected ‘Prem’ as it was outdated. Hurdles and long waits can make you doubt yourself. It was tough to go through that phase, but that didn’t make me disillusioned or bitter because that’s not my personality. I take the good and the bad in my stride.”

The actor, who has been a part of projects like ‘The Fame Game’, the ‘Lust Stories’ anthology, the film ‘Bloody Daddy’ and ‘Made in Heaven 2’, adds, “When people ask me for advice for aspiring actors, I say, ‘Keep on working because nobody can take away your talent from you. I’m living proof of the fact that success in this field may take time. Also, don’t sell yourself short’.”

The actor is no stranger to the whims of showbiz, and the delay of his debut film was not the only time he saw his career slow down. “I often wonder why people didn’t sign me after my work started getting appreciated, especially after ‘Luck by Chance’ (2009). You don’t always have answers to these whys. A short film like ‘Lust Stories’ changed the game for me. I see my glass half full now,” he observes, adding, “How many actors have survived 30 years? Trust me, if you’re a 90s actor having done typical roles, it’s not easy to get a breakthrough in OTT. I got in because of my hard work, sincerity, and dedication. I was always on my toes and when I got the opportunity, I grabbed it with both hands. Many other actors who had started with me have faded into oblivion.”

One day, a message from filmmaker Ali Abbas Zafar seemed to wipe away all the questions that Sanjay may have harboured about the numerous delays and hurdles he encountered throughout his Bollywood journey. “You are the most underrated actor ever,” read the filmmaker’s message to the actor after the release of ‘Bloody Daddy’. Sanjay says, “It feels great to hear this after 30 years!”

Hailing from the illustrious Kapoor family of Bollywood, Sanjay is aware of his place in the industry. He says, “I am not living in la-la land to think all projects shall be around me. I understand that not every project can be a ‘Fame Game’ that revolves around Madhuri (Dixit-Nene) and me. While I don’t live in a fool’s paradise, I don’t want to be a part of a project where I am not contributing anything, especially when things have come to me after such a long time. I am being a little careful and taking up interesting characters that stay with the audience for long.”

Extremely saddened and shocked” by the news of Satish Kaushik’s sudden death, actor Sanjay Kapoor mourned the loss and remembered the actor-filmmaker with a throwback photo from the sets of his debut film Prem (1995), which was directed by Kaushik.

“This picture is from the first schedule of Prem in 1990,” shares Sanjay, as he goes on to talk about his experience of working with Kaushik and the bond the two shared. “I knew Satish before Prem happened, as he was also a part of Mr India (1987; starring Sanjay’s brother, actor Anil Kapoor). We already had a really comfortable equation with each other. I feel fortunate that I started my career under his direction,” The Fame Game actor adds.

Calling Kaushik an “extremely hardworking man”, Sanjay recounts, “He was from theatre and when the director himself is an actor, it makes a huge difference because of the way he treats an actor, especially newcomers like me and Tabu (his co-star in Prem). Satish was always so patient in explaining the scenes and making us act.”

The 57-year-old goes on to share that Kaushik was very close to his father, producer Surinder Kapoor. “My father used to really like him and treat him like his own son. He used to come to our place to have vadi aaloo made by my mum. He was a big time foodie. This was before Prem and he was a young boy back then. Boney, Anil, Satish, me and of course Javed (Akhtar, lyricist) saheb being the mentor, formed a group and we were pretty close,” he wraps up.

The new year marks the beginning of Arjun Kapoor’s second decade in the movie industry. If the past 10 years have taught him something, it is to retain the hunger and spontaneity that he possessed when facing the camera for the first time, for Ishaqzaade (2012). The actor reflects, “When you start out, you make choices impulsively. After a point, you’re told to be strategic. Then, life comes full circle, and you realise the child in you should always remain. Today, I hold on to the thought of what Arjun [of 2012] wanted to do — he wanted to do good work, and be emotional about his choices rather than calculative.”

His latest release, Kuttey, is a prime example of Kapoor following his heart. Debutant director Aasmaan Bhardwaj’s crime comedy may be viewed as a risky move by some. But Kapoor says one Zoom call is all it took for him to come on board. “The father [filmmaker Vishal Bhardwaj] had made Kaminey [2009], and the son was making Kuttey. I knew I was in safe hands. Vishal Bhardwaj has a certain aura [that has been built through] his music and writing. Then Luv [Ranjan, producer] came on board. So, we had two producers who would back Aasmaan’s vision completely. We haven’t pitched Kuttey like a quintessential movie. It is new-age cinema, made with complete honesty, for the audience that is eager to see actors and filmmakers push the envelope.”

That the film brought together some of today’s finest actors — from Naseeruddin Shah to Tabu, and Konkona Sen Sharma — only reaffirmed Kapoor’s faith in it. The actor was particularly looking forward to sharing screen space with Tabu. “She made her debut in my father’s [producer Boney Kapoor] film, Prem. Even today, we share the same playful banter. I often say, ‘Kuttey toh bahana tha, mujhe toh Tabu ke saath kaam karna tha’.”

He counts himself lucky to have worked with Sen Sharma in the movie. “I just wanted to tell her how much I love her work as an actor and director.”

How does one introduce Satish Kaushik? In a career spanning 30 years, he has made a sizeable (pun intended) contribution to Bollywood, theatre, Indian television and international cinema as an actor, producer and director. Importantly, even three decades later, he has an insatiable appetite for his craft. As he gears up for the television sitcom Sumit Sambhal Lega, where he plays Jasbir Walia, that will air from tonight on Star Plus, this multi-faceted personality touches on the high and low points of his life and career. Excerpts from his interview...

You start a new journey on television tonight as Jasbir Walia...
I've been working continuously for 30 years. 24 has paved the way for finite series on TV becoming popular. This entire year has gone in shooting for Sumit Sambhal Lega. It is the adaptation of the American show Everybody Loves Raymond and I play the role of Frank, Raymond's father, in this case Sumit's father. I've made it more obnoxious, more interesting. It is not the central role but it is a juicy one and has a lot of scope. I'm a lazy man from a Delhi household, who talks in the 'aabe tubhe' language. I'm constantly eating and insulting people! It is a character with a lot of layers and though he seems obnoxious on the face of it, he has an endearing quality about him. I accepted the show because I was happy with the brand. Jeremy Stevens, one of the the writers of the original series came over, we had readings and workshops. It is all so well executed.

Three decades as an actor and you're still as excited about this role...
Acting is therapeutic for me. I have made so many names popular. Whether it is Calendar (Mr India), Pappu Pager (Deewana Mastana), German (Hum Aapke Dil Mein Rehte Hain), Jumbo (Gharwali Baharwali), Kunj Biharilal (Haseena Maan Jaayegi), Mutthu Swamy (Saajan Chale Sasural) or Airport (Swarg), people on the street address me by all these names. Something tells me Jasbir will also become as popular as the characters I have named. I've done so much in three decades - from acting in films to producing and directing movies, to producing television shows, theatre and now acting on TV. I've also directed commercials. I always wanted to be busy.

When did the acting bug bite?
I stayed at the Naiwala Lane in Karol Bagh, New Delhi. When I was eight, I told my father - my name should come in the newspaper some day. I was the most ignored child in my school till I did a mono-act play on the last day of Std XI. Everyone was very impressed by it. That very moment I became the star of my school. The claps motivated me to take admission in Delhi's Kirori Mal College, which encouraged dramatics. Amitabh Bachchan is from the same college. Professor Frank Thakurdas, a patron of the arts from our college told me, 'Satish, don't do anything else in life after passing out from here. Become an actor'. I thought he was just humouring me, especially because I knew that I lacked good looks. But my professor turned around and told me, 'Never mind your looks. When I see you on stage, you are the ultimate good-looking person for me.' He is the one who put in a word for me at the National School of Drama (NSD) and this changed my life.

You came to Mumbai next?
I did a six-month course at the Film and Television Institute of India (FTII) and then came to Mumbai. After a year at NSD and a six month stint at the FTII, I worked with the Auroras of D'Decor for a year in their textile mill and earned Rs 400 a month. My first day's job at the mill in Vikhroli was to sweep the dust off the yarn bundles. I had been gloating over the reviews that I got for my plays at NSD and thereafter, the praise I received at the FTII and here, I was being made to sweep in a mill! However, since I knew that I had to survive in Mumbai to pursue my ultimate dream of acting, I just continued. I told myself  'if you sweep the dust off these looms well, your path in Mumbai too will be a smooth one'. This positive attitude is what got me going and paid dividends. My boss saw my play Bichchoo at Prithvi and was mighty impressed. When I reported at the mill the next morning, he said to me, 'You're lacking in the looks department, but you're a terrific actor. Whatever you do, do it with passion.' I became Shekhar Kapur's assistant. I waylaid him at the airport and asked him to take me.

Is Shekhar your godfather in Bollywood?
Frankly, I think Javed Akhtar saab is my godfather. My relationship with Shekhar was very fruitful. I assisted him on Masoom and Joshilaay. Here I met Javed saab, Boney Kapoor and Anil Kapoor. Javed saab asked me not to think small ever. I did one scene in Woh 7 Din and I forged a lifetime of friendship with Shekhar, Anil, Boney and of course, Javed saab. Anil is responsible for many good things in my career.

Any more additions on the friends list?
Yes, Anupam Kher and Jayantilal Gada.

Boney entrusted you with with two big films - Prem and Roop Ki Rani Choron Ka Raja (RKRCKR), right?
Yes, RKRCKR was launched as a magnum opus. But both Prem and RKRCKR flopped. That really upset my morale. I then ventured into television with O Maria, Yeh Shaadi Nahin Ho Sakti and Philips Top 10. I was producing four to five programmes on Sony. But my heart was in films. I was down but never out. The big Bollywood directorial break came again with the Anil-Kajol starrer Hum Aapke Dil Mein Rehte Hain. After that, I never had to look back. I had also become very busy as an actor. I did around 15-16 films with David Dhawan as an actor.

Isn't it true that David actually offered you Raja Babu, the role that Shakti Kapoor later did? Why did you opt out?
David gave me Raja Babu immediately after RKRCKR flopped. At the photoshoot, he wanted me to stand in a striped underwear with a naada hanging down and a Charlie Chaplin moustache. The get-up was very funny but I was nervous, thinking that after such a colossal flop, if I stood in an underwear, people would think I was finished. So, I requested David to give me something else. That's when he offered me Saajan Chale Sasural, where I played a South Indian. I saw this as a tribute to Mehmood, whom I deeply admired and who had played a South Indian in Padosan. It is ironical that both Shakti and I won Filmfare Awards for actors in best comic roles in two consecutive years.

You were fortunate to work with some of the biggest names...
Yes, I worked with Salman Khan (Tere Naam), Anil on several films and Tusshar (Mujhe Kucch Kehna Hai). However, as far as my leading ladies go, I've worked with the most established names including Sridevi, Tabu, Kareena Kapoor Khan, Aishwarya Rai Bachchan and Kajol. I recall I was nervous about working with Kajol in Hum Aapke Dil Mein Rehte Hain. She was fresh from the success of Dilwale Dulhania Le Jayenge and I was thinking, 'God, how will I convince her to do my film.' But the moment I met her on her farm in Khandala and she yelled, 'Aye Pappu Pager,' I knew things would be easier. I realised that when you speak to Kajol, you have to be honest. So, I narrated the script to her without mincing the melodrama. Of course, her first reaction was, 'Satish, it is too melodramatic.' But once she was convinced that there was no other way you could approach the script, she cooperated fully.

Heard you told Anupam Kher once that you would attempt suicide. Is this true?
When RKRCKR failed, I was at a hotel in Hyderabad and was so dejected that I was contemplating suicide. I was newly married and my wife Shashi was wondering what she had got into. Anupam called the general manager of the hotel and said 'please save my friend.' Also, a little later I was at a pub in Mumbai where I met Mahesh Bhatt. I was wearing a dejected expression and told him that I was feeling terrible because my film had flopped. He gave me a smack on my face (albeit playfully) and said, 'your film has flopped, you haven't. Treat films as a part of your life, they're not your entire life.' I came home that day and made a life-graph. I told myself that I had had such humble beginnings. God, my friends and colleagues had paved the way for me to become so successful, then how could I feel defeated just because I had suffered one setback? People who were better-looking and better-off than me were still struggling, while I had managed to reach some place. So, I told myself, 'Satish you need a kick on your arse.' And I picked up the pieces and started again.

You also lost your son Kush to an accident...
The biggest tragedy in my life was losing Kush 20 years ago. Shashi and I could not get over this tragedy. The accident shook me up. I was on top of things as far as my career went. I was elated, when at the premiere of RKRCKR, my wife was pregnant with our first child. And then we lost our son. I realised that as far as destiny is concerned, nothing is planned and fixed. This really shook me up. Today, my son, too, would have been around the same age as Anil's son Harsh and perhaps he, too, may have chosen to be a part of Bollywood. Not a single day goes by without remembering him. Three years ago my daughter Vanshika came into our lives. She is the biggest source of joy for us, the antidote to our sadness. She has filled the gap.

International honour came your way with Brick Lane...
I did Brick Lane and believe me, the producers were in a fix initially on whether a comic actor like me could pull it off. But I had the solid background of theatre. Sarah Gavron's Brick Lane and Dev Benegal's Road Movie opened global doors for me. I met Robert De Niro and Martin Scorsese at the Tribeca Film Festival. I won a lot of accolades at the Toronto Festival for Brick Lane. And I had the privilege of meeting Sir Ben Kingsley at Doha. A new phase in my career began as I started hobnobbing with Hollywood stars at international film festivals. In fact, even before I could approach Ben, he turned around and said, 'Am I meeting this great actor from Brick Lane?' He even introduced me to his wife, who is also a famous actor.

On the social front, you have adopted a village in Haryana.
Yes, I have adopted my paternal village Dhanaunda that is in the Mahendragarh district of Haryana. I got a lot of aid from the local government for making pakka streets and even a sports stadium is being constructed there. I also run a NGO called The Roots that holds workshops in girls' schools. The motto is to tell girls to dream big and become achievers in their chosen field. I believe if God has given you enough, you must give back to society.

Are you planning on directing again?
I have directed around 14 movies and filmmaking remains a passion. The script of my next film is almost ready. It is a gritty drama based on a book. However, I will announce the film at a later day. Acting in television, theatre and films has kept me quite occupied. My play Salesman Ramlal, which is an adaptation of Death Of A Salesman, has kept me fully busy. Besides that, I'm currently doing roles in Abhishek Chaubey's Udta Punjab, where I play Shahid Kapoor's uncle and Wedding Pullav. I also have Ritesh Sinha's Promise Dad, that has an international starcast and is expected to release soon.

Sanjay Kapoor, 52, got everything late in his life, be it the release of his debut as a hero in Prem at 31, his marriage to Maheep at 35, purchase of his own house at 38 or producing his first film Tevar at 52, but he was born positive and was brought up to always be content, much like his father Surinder Kapoor. He is emotional and sensitive and his high self-respect forbids him from asking his high-profile friends for favours. Over an hour-long conversation in his Juhu house over a cup of coffee, he talks to Bombay Times about his values learnt from his father, his attachment to Boney Kapoor and why he will never offer a film to Anil Kapoor again. Excerpts:

Talk about your family's association with Raj Kapoor's family?
We used to live in Chembur in a two-bedroom hall. We were so connected with the Kapoors that Dabboo (Randhir Kapoor) would joke that we are related via satellite. My mom and Krishna aunty were best of friends and Chimpu (Rajiv Kapoor) and I grew up together. My father, Surinder Kapoor, used to work for Shammi Kapoor and his first wife was my dad's rakhi sister. She was the one who pushed my dad to make films and so, her picture used to come in the beginning in all his films.

Even though my father had not given blockbusters, Raj Kapoor uncle used to respect him a lot due to the goodwill he enjoyed and his honesty. Chimpu had a car and would travel abroad, right from when he was a year old. But our parents brought us up in a way that we never had any complexes. I remember Chimpu became an actor very quickly. Prior to his becoming an actor, when we went out together, if he paid the bill two times, I would pay it once. But we would go to ordinary places then that both of us could afford. But after he became a star, he started going to clubs where he would have whiskey and I, beer, and the bill would come to Rs 2000. Then I could not afford it, so I would often avoid going out with him at night. We remained great friends. But I could not tell him why, but then, we started meeting for lunch as that is all that I could afford. My father had always taught us not to pile on.

Talk about your father?
There are many things that I had learnt from our father. Chimpu would always go abroad and bring us Batmans and strawberry rubbers. So when I was in class X, I took a promise from my dad that if I came first class, he would send me abroad. I studied really hard and came first class, but coincidentally, one of my dad's films did not do well at that time. He said to me, 'If I send you abroad, people will ask me how I could send you abroad when my film had not done well.' I felt bad as I could not go, but later, I realised his honesty and what he was trying to do that time. He has done that even earlier. He had seen a flat in Samudra Mahal in Worli for himself and had done the deal. He was making a film with Bhappi Sonie, who had also seen a flat in Worli, and even though my father did not owe any money to them at that time, they requested him for an advance to buy that flat. So my father gave them the money that he was to buy his own flat with and can you imagine, they bought the same flat that my father was buying. My father would tell us, 'Never see the few people ahead of you. Look at the people behind, some of who may also be more deserving than you. Be ambitious, but also be content.' Later, Bhappi Sonie went through a bad time and had to sell his flat and shift into an even smaller place than where we were staying. My father would say, 'My children are doing so well, so we are going up.' He had a lot of goodwill. He was from Peshawar and would always go and drop any guest to the car. I am a happy guy as I think like my father. And that is why I have never been bitter or ever felt frustrated. I feel I have got a lot and thank God for it.

Your first film was released when you were 31. Why so late?
Shekhar Kapur was initially supposed to direct Prem. But the problem with Shekhar is that he is a very lazy guy, which is why he has made such few films over 30 years. He never wanted to start it and that led to my frustration. We then decided on Satish Kaushik to direct it, who started the film in 1989, but then he also had to direct Roop Ki Rani Choron Ka Raja in between, that finally released in 1993 and was a disaster. With that mind, he directed Prem that finally released after 6 years of starting it in 1995. Again in Prem, I will tell you about my father. We had signed a singer Nalin Dave and we were all convinced that since it took 6 years to make the film, his voice was not sounding young enough for me any more and we should replace it with Udit Narayan's. But my father did not change. He said, 'Just like Sanjay has waited 6 years, Nalin has also waited 6 years. Now, it is their destiny.' I was dating Tabu at that time initially, but by the end of it, we were not talking to each other. It finally released when I was 31 and would joke and say, 'I am the oldest newcomer.' But this was destiny. Prem did not work, but within 4 weeks, Raja released with Madhuri Dixit and that became a blockbuster. Madhuri was such a big star at that time that I did not get the credit for it. It was also the time when Sri was with her mother, who was not well in the US and Boney was with her. Had Boney been here, things would have been very different for me as there was nobody to take care of things as far as I was concerned.

Talk about your relationship with Boney?
Everyone would say that Boney was a manipulator, but the fact is that he has always done things without any harm to anybody. He chose and decided the price for both Anil and me. I had a bank account but till 12 years back, he managed all my money. In the beginning I did big shows and got a lot of money and he managed all of that. Lot of close friends would give me negative advice, but it did not matter to me. Both Anil and I had blind faith in him. He is like a father figure, but he has gone through this phase where he would overspend on his films. He tends to get carried away. He is not a manipulator. Even when my father was lavish. Boney's economics were wrong and so, he got into a role where his losses started. Because he was handling everything, it was affecting the whole family. It was not that he was using the money for his own benefit or anything, but it's just that he was putting it into his films.

Between Anil and Boney, who are you more attached to?
Boney, as we have done films together and he has always shown more concern where my life is concerned.

Your career did not pick up as well as it could have.
I did Auzaar, directed by Sohail Khan, that did not do as well, but I got a lot of appreciation for it. I was a hot newcomer and despite it being a negative role, I agreed to do it at once when Sohail called me. Many actors had said No. Salman was a superstar by this time and I don't know if Salman would remember this, but over a drink, he said to me at Piano Bar, 'When you become a producer, I will do your film.' They are a great family that way. When the hoardings of Auzaar came up, it had a big Salman's picture and a small picture of mine, even though I had a better role. He called up our producer TIPS and said, 'If you want to have this kind of publicity, then don't put my name also. Sanjay stood by us.' Salman made sure that my picture was more than his only and not less. That is how Salman is. Anyways, I thought to myself that I would make a film with Salman and through Arbaaz, who was very close to me, I met Salim sahab, who said a yes. But to my bad luck, my films Sirf Tum and Chhupa Rustum did well and thus, I kept looking out for acting assignments. In the meantime, Boney was making No Entry and Salman, without even reading the script, said a yes, I felt because of me, and that is how Salman came into Boney's life. For whatever, reason for a year, I did not sign any projects after this and had got married to Maheep. In 2002, I needed to buy a house for myself and that is the time to settle my family, I did TV and a host of movies just for the money.

Which was your lowest period?
There was a period when I was not doing much as an actor and was trying to become a producer. I was wanting to do a film with Anil. I spent 3-4 years discussing everything with him and even going with the director he wanted, but at the last minute, he said No. I was totally taken aback that time. I just felt that even if he felt that the film would have been a flop, he should have still done it for me. In the same period, he did Yuvvraaj and Black and White. I felt hurt as I had wasted so much time and gone with all his recommendations, including the director he wanted. Mentally, I was very low. I couldn't believe that despite he being my brother, he had said No. Rajat Rawail managed Anil's work and he told me, 'Sanjay, when you meet Anil with the script, you take the advance cheque also.' I found that very strange as he was my brother. I also felt hurt that Anil could even doubt that the money would not come. After that, there has never been a problem between Anil and me, but I never approached him again. Today at 52, I have finally turned producer with Arjun, who has been the closest kid to me in the family. I remember at the peak of my career, I got some money which I gave to a person to build a house on the beach for me. I later realised that the money I had got was not from a right person and I returned the money. My being positive has saved me. Whatever I am today is due to our parents, who I love the most in this world. And I do know that I get everything in my life, but I have always got it late.