When Jaideep Ahlawat began his journey as an artiste, Bollywood was not on his mind. While he performed on the stage in his hometown in Haryana, his dream was to join the Indian Army, but after several failed attempts, he turned to theatre. The actor, who has been a part of several notable films like Gangs Of Wasseypur (2012) and Raazi (2018) and some web shows, was seen in the recently released Khaali Peeli. Talking about his training days as an actor, he says, “I joined the acting institute in Pune and was there for two years. I got to train under some talented personalities like Naseeruddin Shah, Om Puri and Irrfan. It was there that I thought about moving to Mumbai.”

With no solid contacts in Bollywood, he went for auditions with the help of some of his peers, and after a couple of years, he got a break in films like Aakrosh (2010), Khatta Meetha (2010) and Chittagong (2012). “Woh kya hai, when you are new to a city and an industry, you get to learn new things. Initially, yes, it is tough, as you don’t know how and whom to approach, but that is normal. Tomorrow, if someone from a big city moves to Haryana to do farming, they will struggle, too, right? Ki kahan zameen leni hai, kaunsi zameen behtareen hai,” he explains.

The actor neither had a godfather nor a mentor. He shares, “In the industry, I didn’t have a mentor who could constantly support me or work with me. I am thankful to those who gave me good work. I was cast in Gangs Of Wasseypur at a time jab mujhe koi jaanta nahi tha. I got the part without an audition. It was my co-star, Manoj Bajpayee, who I did Chittagong with, who suggested my name. Likewise, Meghna Gulzar gave me an important role to play in Raazi. I am happy that I got to work in a commercial film like Commando: A One Man Army (2013) and also with Kamal Haasan in the Vishwaroopam franchise (2013 and 2018). Iss industry mein bahut saare log hai jinhone mujhpe bharosa dikhaya aur isi liye un logon ka yogdaan raha hai mere growth mein.”

In a career spanning ten years, Jaideep has worked with filmmakers like Priyadarshan, Imtiaz Ali, Anurag Kashyap, Meghna Gulzar and Dibakar Banerjee. He says, “I am a director’s actor. So, aap mujhse bahut kuch nikalwa sakte ho agar aap chahte ho toh. Working with these directors has worked to my advantage kyunki aap ek hi scene ko alag-alag tareeke se nibha sakte ho, and you get to learn that with them.”

Talking about Khaali Peeli, which featured Ishaan Khatter and Ananya Panday, Jaideep says, “When I heard the story mujhe kuch naya laga. I had a lot of scenes with Ishaan. Before the camera rolled and after the director said cut, we would be laughing. Thankfully, we were thorough with our prep, so we were ready to shoot the scenes.”

Rishabh Suri (HINDUSTAN TIMES; July 26, 2020)

Harinder Sikka, author of the 2008 novel Calling Sehmat is miffed with director Meghna Gulzar (who helmed the 2018 film adaptation, Raazi) and her father, lyricist Gulzar. He claims that he had promised the lyricist to let his daughter direct Raazi, and that was his “biggest blunder”.

Unhappy with the film, Sikka says the director “intentionally” made blunders. “The first one was her pro-Pakistani approach. In the book, when Sehmat kills Abdul, there’s a dialogue, ‘I’m sorry Abdul, but I love my country more’. Meghna removed it,” he says. The second, adds Sikka, was, “Sehmat came back to India to a royal red carpet welcome, saluted the Tricolour while the military band played the National Anthem. Meghna, instead, brought her back in a depressed state...” Asked why didn’t he raise these points when the film released, he says he did try to speak up, “but after a few of my interviews, I received a death threat on social media”.

Sikka alleges the Gulzar family tried to sideline him from the film. “When she was signed for Raazi, she began changing colours. After shooting ended, she sent me a nasty WhatsApp message, cutting off all relations,” he recounts. Sikka also claims he was supposed to see the director’s cut. “She didn’t invite me nor informed me,” he adds. Even the film’s title was changed, he says, without his knowledge or approval. “Their plan to checkmate me, the outsider, was in place. I was removed from promotions related to Raazi. I should’ve learnt that this was the trait of someone who’d soon back-stab,” rues Sikka.

When we reached out to the director about the author’s accusations, she wasn’t available for a comment.

Bollywood's most underrated actor and the toast of the town Jaideep Ahlawat on life after Paatal Lok
Uma Ramasubramanian (MID-DAY; JUne 16, 2020)

In college, he was an Akshay Kumar fan, often deliberately missing a bus only so he could chase it like his screen idol did in a sequence in Khiladiyon Ka Khiladi (1996). He has, for so long, played the part of the avid admirer that Jaideep Ahlawat is surprised to find himself on the other side of the table today. Since Paatal Lok dropped online, there has been a constant celebration, and a deserving one at that, around Ahlawat, who plays inspector Hathiram Choudhary in the Amazon Prime Video offering. "I don't understand the term 'overnight stardom'. I don't know how to react when people acknowledge me as a star," says the actor candidly.

But describing Ahlawat as the product of overnight stardom would be lazy, if not uninformed. The actor, who graduated from the Film & Television Institute of India (FTII) in 2008, has been quietly laying the foundation of a solid career all the while as Bollywood obsessed over its next six-pack-abs hero or rolled out the red carpet for the next star kid. It's not surprising then that his first breakout role was in Anurag Kashyap's Gangs Of Wasseypur (2012), followed by Meghna Gulzar's Raazi (2018).

"Raazi was the turning point in my career. It brought me respect, and that happened only because Meghna believed in me," recalls Ahlawat, who hails from a world far removed from showbiz. "I come from a family of farmers in Kharkara, Haryana. However, when I told my parents I want to be an actor, they supported me."

Life may have witnessed a turnaround post , but going forward, the actor hopes to continue finding compelling stories. "One must continue to look at the world from a lens that gives you a reality check. An actor must not get swayed by the praise. The idea is to tell different stories while exploring them from different angles. But that will be possible for an actor only if he has a variety of offers. So, I hope this translates into more choices."

One would imagine that he is flooded with offers, but he remains tight-lipped. "Nobody knows what the next move is. I am in talks with a few people, let's see how things work out." A second season of Paatal Lok, perhaps. "Anushka [Sharma, producer] had said it is a possibility. They have yet to decide. I hope it happens because I would like to be part of the second season."

The Sudip Sharma-created series won much acclaim for holding a mirror to society and showing how it plays an active role in creating criminals. However, a section of viewers felt that the nine-part offering normalises violence. "There are barely four violent scenes," defends Ahlawat, adding, "Unless you are shown the other side of the coin, you will never be able to figure out the bitter truth. Unless we show Hathoda Tyagi [the character played by Abhishek Banerjee] killing a few people, how can we give him the tag Hathoda? The show was not made to glorify violence."

Vicky Kaushal plans to spend the day with his family, hopes to give them more time post-lockdown
Titas Chowdhury (HINDUSTAN TIMES; May 16, 2020)

“I have been working on most of my birthdays over the last few years. I try and make that happen. These are tough times but this birthday is going to be special,” says Vicky Kaushal who turns 32 today.

Talking about having a low-key celebration at home, he shares, “It’s going to be different this time because it’ll be a quiet one. It is going to be all about spending time with family. I’ll also be catching up with my friends over video calls.”

The actor says that the pandemic has made him realise the value of family and being there for each other. “From this point on, it’ll be a conscious effort to give more time to them. When the Coronavirus lockdown is lifted, I’ll make sure that no matter how busy I get in life, I’ll spend ample time with them, have meals with them and talk to them rather than blaming the fast-paced life for not being there with my family,” he says.

Kaushal gets nostalgic, fondly remembering his birthday celebrations from his school days and one of his main complaints. “I used to be very upset because my birthday would fall during the summer vacations. I couldn’t wear regular clothes to school on my birthdays and distribute chocolates to the entire class. But what I remember are the sweet parties at home where I would cut cakes surrounded by my friends. That was the time when technology hadn’t advanced so much and nobody was aware of the concepts of video calls and selfies. Those celebrations felt so real because we wouldn’t be busy clicking photos for social media,” he shares.

He says that a lot has changed since his birthday in 2018. His first big hit, Raazi, recently marked two years. With gratitude, the actor says, “By God’s grace, things only got better from that point on. Raazi came out after Masaan (2015), Zubaan, Raman Raghav 2.0 (both 2016) and Love Per Square Foot (2018). Raazi presented me to a wider audience and the way it was received and the love we got was too special. It was my first experience with the mainstream and things began changing post that.”

After playing mentor to Alia Bhatt, Jaideep Ahlawat takes on the quintessential villain turn in Ishaan Khatter, Ananya Panday-led film
Himesh Mankad (MUMBAI MIRROR; May 14, 2020)

Jaideep Ahlawat made his acting debut with Ajay Devgn’s Aakrosh and earned praise for his turn as Shahid Khan in Gangs Of Wasseypur. The Anurag Kashyap directorial led to roles in films like Vishwaroop, Gabbar Is Back, Commando and Raees. However, it was Meghna Gulzar’s Raazi, produced by Junglee Pictures and Karan Johar, that put him on the radar of casting agents looking for dependable actors. The Alia Bhatt and Vicky Kaushal spy thriller completed two years on May 11. “It’s a very special film. Raazi upgraded me as an actor and gave me a better understanding of scripts and characters,” Jaideep acknowledges.

Harking back to the first day of the shoot, the actor says, “Gulzar saab and Vishal Bhardwaj were on the set. I touched their feet, sought their blessings and gave my first shot. I had just one scene with Vicky in the film, but we go back a long way. He was an assistant director on Gangs Of Wasseypur,” Jaideep reveals.

The actor believes success brings responsibilities with it, but adds that it’s the writers and directors who give an interesting arc to his screen turns. “Characters in commercial cinema are infused with an element of quirk for entertainment. As an actor, I want to be associated with all kinds of films and commercial cinema is like a cheat day for those on a diet; it helps maintain a balance,” he laughs.

Next up for Jaideep is Ali Abbas Zafar’s debut production, Khaali Peeli, in which he plays the antagonist to Ishaan Khatter and Ananya Panday’s leads. “It’s a typical masala film with action, romance and drama. I play a quintessential Hindi film villain, like the ones we grew up watching. He is true to his word and has his own swagger,” he smiles, adding that his co-stars are hard-working, fun and energetic. “I don’t have much screen time with Ananya, but Ishaan and I share an interesting dynamic,” the actor signs off.

Sanober Pardiwalla and Geeta Tandon

Bollywood's stunt-women describe the lengths they go to, to be physically adept for the job, even though action films fronted by women are limited
Sonia Lulla (MID-DAY; March 25, 2020)

Sanober Pardiwalla
The anxiety owing to her work-related hazards that consumes us after browsing through Sanober Pardiwalla's list of stunt-work in Bollywood is rendered rather redundant when she takes us through the practices she has mastered, over the years. "I had a black belt in karate at the age of 12, and went on to learn other [forms of] martial arts, including muay thai and jiu jitsu. Six years ago, I also took up the Shaolin temple training in China, which even American [soldiers] fear trying," says the stunt-woman, who, apart from working in Hollywood films like Slumdog Millionaire (2008) and A Hundred Foot Journey (2014), has doubled for actors including Priyanka Chopra Jonas, Anushka Sharma, Katrina Kaif, Kareena Kapoor Khan, Deepika Padukone, and Sonakshi Sinha. "The [training] completely rips you apart. We lived two kilometres uphill from the training centre. [Partakers] have to walk down to the camp. To learn kung fu, one must forget everything that has been previously learnt. Training is conducted in two parts — three hours in the morning, and two hours in the evening. It is [brutal]. If you survive it, making the two-kilometres return uphill with the [equipment] is tough. And food is only available up there. What is available is boiled rice and cabbage. You need to eat that every day for a month. So, it teaches you mental endurance and enables the body to adapt."

Her achievements don't end there. An affinity for underwater stunts encouraged Pardiwalla to became an advanced deep-sea diver too, she tells us, prompting us to enquire if the challenges that Bollywood's action directors pose, rattle her at all. "The stunts that we perform seem 10 notches lower than what I'm used to practicing," she admits.


Sanober Pardiwalla with Hrithik Roshan

Pardiwalla is currently working on a spate of films, including Saif Ali Khan and Rani Mukerji starrer, Bunty Aur Babli 2, Ranbir Kapoor's Shamshera, and Atrangi Re, featuring Sara Ali Khan and Akshay Kumar. When she isn't fulfilling her Bollywood commitments, she doubles up as a fitness trainer for actors in the industry, and also guides them through the tricks of pulling off stunts. Juggling multiple jobs evidently implies she doesn't know when she'll be afforded the time to train herself. "On the days that I shoot, I ensure I train before calling it a day, even if the shoot runs for 16 hours. I take to smart workouts, like high-intensity training for 20 to 30 minutes. There's a lot of flexibility and cardiovascular work involved. I may alternate between gymnastics, strength training, and cardiovascular work." On a particularly demanding day that leaves her with no time to exercise, Pardiwalla may simply hoist her backpack over her head, and lunge-climb six flights of stairs to reach home. "But, in a week, I fit in at least five sessions."

Building a body capable of pulling off the kind of stunts that she does, while retaining the lithe frame that can enable her to "pass-off" as the actor she steps in for, is a tough feat. "Many actresses are lean. But they may not be fit. I must constantly strive to keep from bulking up, but still be strong and lean, so that I can match a body profile. The diet plays a major role in enabling me to do this. While carbohydrates have acquired a bad name in our industry, on a particularly demanding day, as much as 60 per cent of my diet includes carbohydrates. During a 16-hour schedule, if my shot is slotted for the 16th hour, I can't be tired and then under-perform. So, carbs are important. However, I have good carbs only, and balance it with lean protein. It also depends on how physically demanding each day is. If I'm not required to pull off stunts, I may stick to a meal plan that's high on vegetables only."

Geeta Tandon
Among the most celebrated stunt-women in Bollywood, Geeta Tandon wasn't afforded the privilege of learning an array of physical fitness forms, given that it was need, more than desire, that drew her to the industry. Every bit the fighter she is seen to be in cinema, Tandon is famed as the woman who fought her way out of an abusive relationship to make her life. The chances to hone her skills as a stunt-woman are then given to her in the form of training sessions on film sets itself. And Tandon doesn't take such opportunities lightly. "That's what helps us in our profession. [They are specifically important] because India doesn't have such training centres available at affordable rates," she says.

A month-long stint as participant of a stunt-reality show — that eventually never saw the light of day — formed the crux of her training. "That was eight years ago. We were training under Shifuji [Shaurya Bhardwaj]. Participants were made to wake up at 6.30 am and do squats and Suryanamaskars. Following breakfast and a short break, we would be called for bike-riding training, which involved racing, elevating and riding uphill. In the evening, at 4 pm, we'd have under-water training. This is where I learnt a lot of beneficial stunts, including how to manage cars at high speeds," says Tandon, who has worked in films like Raazi (2018), Saaho (2019), and Mard Ko Dard Nahin Hota (2018).

When she isn't shadowing female actors while the latter are being trained for an action film, Tandon continues to enhance her skills on her own accord. If she isn't filming, she will spend three hours each evening practicing kicks, punches and handstands. "I may run for 30 minutes, but pulling off 500 kicks is tougher. Kicks also tremendously enhance lower-body strength. If a few friends are also available, we gather at the beach to try stunts. It's easier to avoid injuries on the sand."

Maintaining her diet is another aspect that Tandon must be mindful of. "Body badh jayegi to match kaise karenge actors ke saath (How will we double for an actor if we put on weight?)." Her protein consumption makes for a big part of this discussion. "I depend on original protein sources, like eggs and nuts. When we enter rehearsals, we're exhausted by the end of it. So, we need to be well nourished to pull-off this lifestyle."


Geeta Tandon has worked in Rohit Shetty's films like Bol Bachchan and Singham

Alia Bhatt says she has ‘understood the balance’ required in her ‘obsession with work’ and that beyond a point, she has to withdraw
Prashant Singh (HINDUSTAN TIMES; January 22, 2020)

It’s a rare feat of sorts that since her debut in 2012 [with Student Of The Year], Alia Bhatt hasn’t witnessed too many professional [box-office] setbacks. But 2019 was an aberration. While on one hand, she got rave reviews for her outing in Gully Boy, she also starred in Kalank that didn’t draw many to the theatres. And the actor readily admits the “disappointment” that came along with the failure.

“Anyone who goes on a journey that you have a lot of expectations from is going to feel a certain kind of disappointment. Till date, I have not had too many failures; maybe just two. And my learning through both of them has been very different. But the main thing I’ve learnt is that you’ve to keep your head down, work hard and give your best at everything you do. Sometimes, you’ll go right and at times, you’ll go wrong as well,” says the actor.

Alia, who has had several hits to her credit by now, feels that failures have only “taught her invaluable lessons”. “As an actor, an entertainer and even as a person, I have understood the balance that is required in my obsession with work, wherein I am very ambitious and passionate about films, acting, the art and everything. But beyond a point, I can’t get too attached to the successes or the failures,” says the actor, who has a packed line-up this year with several back-to-back biggies.

“I derive my joy and happiness from being in front of the camera and learning through people I interact with on sets — whether it’s my director, co-actors or even the technicians. That’s my bliss. And after that, whatever happens, is the result of the hard work that everybody puts in. Hopefully, one goes more right than wrong but I feel sometimes, you have to go wrong to understand the importance of going right. And that’s something that is not in your control,” says Alia.

Vis-à-vis her film choices, Alia has been mixing it up since the start of her career, and she continues to do the same in 2020 as well. But does she find a lot of difference in terms of approaching her parts in completely dissimilar films such as Raazi (2018) and Gully Boy? “Shooting for Raazi was a little emotional [experience], also because I shot it at one go, with no break. Probably, that’s why the character connected and stayed with me. But vis-à-vis Gully Boy, the way I looked at the character was really fun and easy. It was like a break from all my other intense characters,” she says.

Why is Alia Bhatt feeling guilty?
“Though Gully Boy was intense, I had a lot of fun when I was shooting for it, mainly due to Safina’s (the character she played in the film) infectious spirit. I remember feeling happy every day, which is very unusual for me because usually, I am self-critical and don’t like talking too much about my work. Now, when people tell me how amazing my performance is in it, I feel guilty as I wonder, ‘did I work hard?’ or ‘why do I deserve this kind of appreciation (laughs)?’ I also enjoyed watching my performance, which usually doesn’t happen. I enjoyed the film since it’s so beautiful, and was an unusual experience.”

As Vikrant Massey's understated character in Deepika Padukone-starrer Chhapaak wins praise, director Meghna Gulzar discusses writing sensitive parts for men in times of machismo-driven films
Mohar Basu (MID-DAY; January 12, 2020)

"I did not make this film to specifically give out a message to the men," begins director Meghna Gulzar whose Chhapaak—that highlights an episode of violence against women—has opened to rave reviews. The human drama may be a Deepika Padukone show all the way as she brings alive the story of acid attack survivor Laxmi Agarwal on celluloid, but the deft treatment of Vikrant Massey's character too has earned praise. Through his part, that is modelled on Alok Dixit (Agarwal's partner), the writer-director has given us a strong yet sensitive man, who joins Padukone's character in her fight against the sale of acid.

Ask her if women filmmakers weave more empathetic male characters as they mirror their own projections of what they hope from the men in their lives, and she says, "I don't have the lens for gender. If you can speak to humanity at a generic level, the gender issue will sort itself out. I have been fortunate to write and direct male characters that are noble and sensitive. With Vikrant, we were guided purely by the story we were telling, the real-life reference and the sensibility of the writer and filmmaker involved. I couldn't have Vikrant do things that you'd associate with a filmy hero. Such [supportive] men also exist as much as those we show on screen."

The writer-director has a knack for creating male characters that are refreshingly divorced from the macho parts that Bollywood often churns out. In her last offering, Raazi (2018), Gulzar brought depth to the role of Iqbal, that was enhanced further by Vicky Kaushal's performance. As a Pakistani major who discovers that his wife is an Indian spy, the character of Iqbal was valiant, yet vulnerable. She emphasises, "The acceptance that Vicky's character got proves that there's appreciation for characters that are not larger-than-life heroes. These are real men, and we have to celebrate them."

Kavita Awaasthi (HINDUSTAN TIMES; January 12, 2020)

“Chhapaak is an important story and we are all encouraged with the love being showered on us,” says director Meghna Gulzar about her recently released film, which she co-produced too.

While the film is based on acid violence, the issue of women’s safety in India is a burning issue, too. The filmmaker hopes that her film will contribute to the conversation and make people aware about acid attacks. She says, “There is a lot of awareness on sexual assault and rape, which are crimes of violence against women, but acid violence, although it is rampant in our country, there is lack of awareness about it. Acid is going beyond crime against women and being weaponised. Men are being attacked and property disputes end up in attacks. Let’s hope this film starts a conversation on what could be probable solutions.”

They say life imitates art and vice versa. Moreover, how impressionable people get influenced by crime depicted in films or the tube, has always been debated. The filmmaker gives her take, “The sensibility and intent of the presentation is important. Are you going to glorify the crime or the consequences? That approach is critical.”

While her movies, Talvar (2015), Raazi (2018) and Chhapaak have some elements of crime, Meghna says she was never interested in the genre, but has just stumbled into it. “I wrote Chhapaak after Talvar but I shot Raazi. After Raazi, I wrote the script on Sam Manekshaw but made Chhapaak. Scripts have their own destiny. My films straddle two-three genres — such as crime-thriller, social drama, police procedural. I want to give my audience a fuller viewing experience with many elements,” she says.

Meghna, 46, reveals that even before casting Deepika Padukone in Chhapaak, she was impressed with her acting abilities. “I saw her in Om Shanti Om (2007), which is one of my favourite films, and Farah Khan is one of my favourite filmmakers. I love the reincarnation theme that Indian films have and I have loved watching Karz (1980), Madhumati (1958), Karan Arjun (1995). For Deepika, to play a double role in her debut was impressive. She was hilarious in Chennai Express (2013) and adorable in Piku (2015). I was aware of her calibre, but she lived her character and became Malti beyond the transformation,” she shares.

Meanwhile, she is happy with the reception. She says, “It feels nice when your work gets validation, whether it is from actors or producers... the fraternity sending text messages that they loved your work. That pat is very reassuring. Every filmmaker needs validation.”

Prashant Singh (HINDUSTAN TIMES; December 23, 2019)

She started her directorial journey with films such as Filhaal (2002) and Just Married, followed by the anthology feature, Dus Kahaniyaan (both in 2007). But when Meghna Gulzar returned to the director’s chair after a gap of eight years, she turned her attention towards gritty cinema such as Talvar (2015), Raazi (2018), and the upcoming Deepika Padukone-starrer Chhapaak.

Ask Meghna about her penchant for hard-hitting films, and she says that a subject’s difficulty “makes me bring out my craft better”. She explains: “Somehow, since Talvar, I feel that’s what has happened. In Talvar, for the first time, I was doing a non-fiction, gritty, murder, investigative thriller.”

On one hand, the [film’s] world was “completely different” for her, and on top of that, she was “making a comeback to films after a long time”. She says: “That’s why even the filmmaking process was different. Technology had changed and the team was also new. So, all the odds that could be stacked up against me were there. And I think that made me work harder, which, I feel, showed in the film as well.”

The director feels it all “helped the film and made it better”. She says: “That’s when I realised that the secret is that I need to work hard. I just can’t afford to have a luxurious, relaxed shooting atmosphere (smiles),” says Meghna, adding that since she has a “great team”, it helps her a lot. “I have had the same set of professionals for the past three films. And we are in absolute sync with one another. Be it Talvar, Raazi or Chhapaak, these films require tough shoots. But somehow, that intensity translates to magic on screen,” she says.

Coming to her next, Chhapaak, Meghna feels roping in a big star such as Deepika can go a long way. “Every film has its own destiny. But casting Deepika was significant since the amplification of how horrific this [acid attack] is becomes that much more when you see a face like Deepika’s get disfigured. And hats off to Deepika for taking it head on! In this film, she has shed everything that she is known for — the way she looks, the glamour, opulence and the set-up, the hair, makeup, costume or the jewellery. She is just with her craft,” she says.

And without any doubt, the presence of a top name also widens the reach of a film. Meghna, too, agrees. “At the end of the day, why are we making this film? Because this is something that we want people to know about. And if her being a star widens the reach, it’s great,” she says.

Meghna Gulzar on out-of-the-box choices, her heroines and heroes, and why mother Raakhee and son Samay have yet to see her next directorial
Roshmila Bhattacharya (MUMBAI MIRROR; December 13, 2019)

She’s one of those rare people who text to inform when they’re running late. Then, she gives you all the time in the midst of hectic post-production for a freewheeling chat. Excerpts:

This industry is all about glamour and you’ve taken one of its biggest names, Deepika Padukone—her last film, Padmaavat, was about a Queen known for her beauty—to play an acid attack survivor. What was her first reaction to her prosthetic look in the film?
It takes courage to discard your calling card and bare yourself completely. When you are shorn of all the usual trappings - hair, make-up, costume, jewellery—with only your craft exposed, it’s a brave path to walk and Deepika has done it with flourish. For me, it was important to take a face associated with beauty because when you distort it, like it would happen to a survivor, the contrast and impact is far stronger. Not everybody is Deepika Padukone, but these other girls were beautiful too and didn’t deserve this to happen to them. No girl deserves it going forward. I’m fortunate Deepika agreed to play the part. During our research, we discovered that Laxmi Agarwal’s pictures before the attack are strikingly similar to Deepika’s when she was young. There is an uncanny similarity in their physicality which shows up in the prosthetics. That was my starting point. Then came the larger thought of the impact of the message which would get magnified with her in the lead as Malti (who is fashioned after Laxmi). The idea wasn’t to make Deepika look like Laxmi, but to make her look like what she’d have looked, God forbid, if something like this happened to her. The essence of Deepika is still there, particularly in her eyes.

What was your first reaction to the trailer?
When the first cut came out, it was interesting to see someone else’s interpretation of the film and heartening that it reflected the spirit of the girl. And since it came on its own, I felt that if the film is emanating this, we are in a good space.

One of your earliest gurus, the one with you at each step, is your father. Has Gulzar saab seen the film yet?
Like always, I’d shared the script with him; he saw a preliminary version of the trailer and the off-line edit, and got all emotional and teary-eyed. For me, it’s hard to tell if his reaction was coming from the film or because I had made it. He can be terribly biased, but I’m happy my parents are proud of my work.

So, your mother, Raakhee ji, has seen it as well?
My mother does not like to see a work in progress. She has just heard the songs and is waiting to watch the complete film. When the first copy comes out, that screening is hers.

Filhaal, Talvar, Raazi, Chhapaak… As a filmmaker you are climbing the ladder...
I’m nothing but the stories I tell, and as the stories get more challenging, I push myself more as a writer and a director, so my craft is up to the story I’m telling. I want to be a better version of myself. I don’t want my audience to ever come to see my film with certain expectations and be disappointed. Staying at the same level is stagnating and coming down is not an option.

After years, the Talvar case got a verdict. Acid attack laws have become more stringent since you decided to tell Laxmi’s story. How does it feel when stories you picked up from real life come a full circle and find culmination legally?
I don’t think there can be a better reward or validation. If the sense of a film lasts only as long as a box of popcorn, it’s a humungous waste of so many people’s time, effort and money. There needs to be larger resonance. Unfortunately, our idea of entertainment is so narrow that it’s become only about making the audience laugh. But I can make them laugh, cry, feel angry and disgusted, and still engage them. And if through this journey of emotions, some larger purpose is served, nothing can be better.

It was surreal when on a recce for Raazi, I got the news of the High Court acquittal of the Talwars. I broke down. Even though Talvar was a success because of the nature of the subject, we couldn’t celebrate. I got to experience such intangible rewards which will never go away.

Have you met Rajesh and Nupur Talwar since? Have they seen the film?
We are in touch, but I haven’t met them. Nor have I had the courage to ask them if they’ve seen the film because for them it would be reliving the worst chapter of their lives.

Has Laxmi Agarwal seen Chhapaak?
Both Laxmi and her partner Alok Dixit have, and they loved it. Back in 2016, when we landed in the world of acid violence, it took a while to find them, then, break their cynicism. Film people and the media are not looked at with much regard. Also, Laxmi was far more introverted then. It took a while to win their confidence and convince them that we would not trivialise their story.

The film isn’t even a biopic, we are just using Laxmi as an anchor to tell a larger story about an issue. Once they agreed, we got them to Mumbai and for two-three days, we were holed up at my workplace. She narrated her life story which I recorded, asking specific questions. Then, I met her father’s employer who was critical in getting her medical and legal help, her lawyer and surgeon to get the technical details right, after which Atika Chauhan and I wrote Malti’s story which we shared with both.

How is Deepika, the producer?
I didn’t give her much time from being an actor, but now, this journey from filmmaker to viewer is critical for any film, particularly a film like this, and she’s hands on. She attends meetings, throws ideas around; that investment is special.

Did the commercial success of Raazi make it easier for you to make Chhapaak?
Even Talvar was extremely successful in terms of its budget and the money it earned, and so it was easier to make Raazi which made it easier for Chhapaak. The change largely happened because of the shift in the kind of films we are making today. Actors, studios and producers are getting more experimental in their choice of content.

In this scenario, what’s it like to be a filmmaker?
I feel relieved. I’ve been making films for 20 years, now I fit in. In the last five-seven years, we’ve upped the game. Regional cinema is blossoming too, that’s inspiring.

It must feel great to collaborate with actresses like Tabu, Konkana Sen Sharma, Alia Bhatt and Deepika who could have got lost in song-anddance routine, but have chosen their films with care.
I feel blessed they trusted me. They are women of pedigree, known for their craft. By the end of the first draft, I usually have an actor in mind and if not them, I can’t think of an alternative. I’ve not yet faced a situation where I had to do without the one I wanted.

It’s easy for a woman director making women-centric films to talk only about women. But the men, be it Irrfan Khan in Talvar or Vikrant Massey in Chhapaak, have played an important role too.
Oh yes, I’m grateful to them and to Vicky (Kaushal) for Raazi and Sanjay (Suri) for Filhaal. The choice was even more difficult for them, but thank God, they trusted me or these films would have never got made. These men, as actors and characters, are bigger heroes.

You also have a real-life hero in your husband Govind...
Yeah, and my husband reacts to my films like my father, getting all teary-eyed. We’ve been together for 25 years, he feels proud that the little girl he dated in college is doing this kind of work. And since I can’t see myself without the work I do, it’s great to be able to do it with complete ease of mind, knowing he is fine, my son is being looked after and that when I come home, there’s respect for what I do. I would wish this for every woman, even homemakers because running a house can be a nightmare, yet goes unrecognised.

Has your son, Samay, asked questions about your films?
Unfortunately, he hasn’t seen any of them because he’s not yet 10. When he is 13, I’ll show him Raazi first. I really want him to see what takes me away from home. One day, he asked me why I can’t make a children’s film and it struck me then that we pass off our popcorn entertainment to them.

Raising kids doesn’t just mean giving them pocket money and a cell phone. Their social and cultural nourishment is completely depleted today and they are the future generation. Right now, my mind is in a space where I want to tell difficult stories but maybe one day, I’ll make a film for children; a nice, happy story.

The Field Marshal Sam Manekshaw biopic, with Vicky Kaushal is your next, right?
Yes, we start in 2021, I need a year of prep and some downtime with my family. I’m looking forward to reuniting with Vicky. Some connections that you make transcend the job. I remember I just called Vicky and asked him where he was. When he said he was 10 minutes from my place, I invited him over and offered him the film. He confided then that hearing my stories of the Field Marshal during Raazi, he had wished he could play the part. Then, he saw his picture and discovered he was very fair and was convinced it would never come to him.

Vicky didn’t even want to read the script, just said he was doing the film. He was going to New York, I insisted he read it on the flight. Such trust is precious. This whole journey is about winning the trust of actors, producers and the audience. That’s the biggest earning.

You are coming up against Ajay Devgn’s Tanhaji. Doesn’t that make you apprehensive?
Today, it’s impossible to aspire for a solo release. Talvar came with Singh is Bliing and Haider with Bang Bang. We are a population of over a billion people. Surely, two films can share an audience?