Showing posts with label Raj Kumar Gupta interview. Show all posts
Showing posts with label Raj Kumar Gupta interview. Show all posts
Delhi itself was a character in No One Killed Jessica-Raj Kumar Gupta
11:11 PM
Niharika Lal (BOMBAY TIMES; January 8, 2026)
Released in the first week of January 2011, No One Killed Jessica became a film audiences returned to each time the case saw a new turn. At the time, director Raj Kumar Gupta was warned that January releases rarely worked and that films led by women didn’t work – his had two. Yet the filmmaker says his faith in the film never wavered, a belief shared by everyone involved in the project.
A decade and a half on, the film remains iconic – for its hard-hitting subject, its authentic portrait of Delhi, its grounded courtroom sequences, and for helping open doors to female-led cinema at the time. Raj Kumar Gupta, who also wrote the film, looks back at the project that quietly reshaped the space for women-centric narratives in Hindi cinema.
‘There was no agenda behind the film’
“I wanted to tell the story, there was no agenda,” asserts Raj, adding, “I chose to tell it through the eyes of the two protagonists. One was Sabrina’s perspective and another perspective came from a character (of Rani Mukerji) who represented the media and, more broadly, the people who were seeking justice – those who wanted to see that justice was done. That is how the narrative came together. My approach was to stay focused on these viewpoints. Of course, many other characters came in and out of the story, but the core always remained centered on these two perspectives.”
‘It was a long and hard-fought battle for justice, and that was deeply inspiring’
Raj says, “When this incident happened in 1999, I was in college, so I remember it very clearly. This case was stuck in my head. Later, when we were discussing possible subjects, it came up again, and I felt it was something worth pursuing. I had lived in Delhi during my graduation, I had seen the city up close, and I had a certain point of view – both about Delhi and about the case. That perspective is what brought everything together.”
He reflects, “It was a long and hard-fought battle for justice, and that was deeply inspiring – a sister who refused to give up, who kept fighting for justice. The way the media and others collectively came together to support the cause was also powerful. This reflects society at large and is inspired by real events, and that is what ultimately compelled me to tell it.”
For the character of Jessica, Raj shares that he had Myra in mind. He says, “She was my friend. I also clearly remember the iconic smile of the real Jessica – I could see that smile in Myra, and that was extremely important for me to get it right. Although it was her first film, Myra did a great job in it.”
‘Filming the scene when Jessica was shot had an emotional complexity’
Raj recalls, “While we were shooting the first party sequence, it was one of the most complex scenes in the film not just technically, but emotionally as well. In many ways, the entire argument of the film rests on that scene. How it was shot was crucial, because later in the film, this is the very sequence that would be discussed in the courtroom.”
Shooting in real spaces
Raj Kumar Gupta wanted to shoot the film largely on real locations in Delhi. He says, "Delhi had a certain grit, a certain rawness, and that feeling was essential to the film. We had to have Delhi in the film. In many ways, Delhi itself was a character in the story. In the opening of the film, we talk about Delhi almost as if it’s a living presence."
Because of that, it was important for me to shoot across the city and the film was shot at locations like ITO, Tees Hazari, the streets of Delhi, Chandni Chowk, and other real locations.
He says, "I wanted the film to feel as authentic as possible, to be filmed in the real spaces where these events unfolded."
India Gate protest scene
Back in 2006, on Republic Day, Rang De Basanti hit the screens and gave Indian cinema one of its most unforgettable protest scenes. A couple of weeks later, what India witnessed was the RDB effect when the film served as a catalyst for civic justice in the Jessica Lal case when thousands of people, including students, gathered for a candlelight rally at India Gate.
Raj Kumar Gupta shares, "While there are many places in Delhi, when we have to think of a place in Delhi, we think of India Gate. It became a place of collective rebellion. In No One Killed Jessica, we incorporated the protest at India Gate because in reality, people protested at India Gate after Manu's acquittal. I think India Gate is one of the locations in Delhi which evokes strong emotions."
He shares, "India Gate scene was the climax of the film. That sequence had a very strong emotional arc, and logistically it was a huge challenge. We were shooting at India Gate and had permission only for certain hours. On the same day, there was a major sports event happening, so teams were being shuttled through the area. That meant we had to finish the shoot within a very tight time frame. There was also a massive crowd present during the shoot, which added to the difficulty. Despite all that, the sequence was extremely emotional. It was designed to represent the end of the film through a song, and the light, the atmosphere, and the setting all had to come together perfectly. The challenges were many - managing the crowd, executing the scene within the limited time, and ensuring that the emotional weight came through. Most of the characters seen in that sequence are people the audience has already watched fighting for justice throughout the film - friends, supporters, and allies, so it was important to bring them together in a way that felt truthful and earned."
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"The story is about hope and justice. In real life also, people came together and justice was done. The story itself is driven by a tragedy; it should not have happened. I wanted to tell the story in a format where the story never goes dark. It was a very conscious effort. We were telling the story about real people. Life is about hope. The world runs on hope. I took a hard-hitting approach, but I also took an approach where it never gets too heavy to handle." - Raj Kumar Gupta
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Raj Kumar Gupta says, "Vidya and Rani come from different schools of acting. Vidya is very meticulous; she prepares for her character and is very methodical about her approach. With Rani, she is very spontaneous. You will not believe that five minutes back, she was laughing and joking. I got to work with two contrasting and opposite actors, and the character was also such that it gave me a wide range. Vidya Balan met Sabrina, but not before the film."
Most of us have been underdogs at some point, so I always tell an underdog’s story-Raj Kumar Gupta
4:48 PM
Anshul Chaturvedi (BOMBAY TIMES; August 18, 2025)
Raj Kumar Gupta last stepped behind the camera in 2019 with India’s Most Wanted. In the post-pandemic landscape – where Indian viewers are spoilt for choice with global OTT content and theatrical releases often struggle to draw crowds – he made a return to the big screen with Raid 2, delivering an impressive theatrical run. Best known for films like Aamir and No One Killed Jessica, the director believes that even in an OTT-saturated ecosystem, there is still room for procedural dramas in mainstream cinema. And the USPs of that are two elements: a distinctly Indian setting and the story of an underdog battling the system from inside to achieve justice – a narrative arc uniquely rooted in the Indian context. Excerpts from a chat:
Given the high-quality police procedural content available on OTT, how have things changed since you made the first Raid film in 2018? Is it more complicated to carve out space today than it was when the first film happened?
Even if you look at Raid (2018), it wasn’t an easy film to make, it wasn’t an easy story to tell. Of course, there was a novelty to it. We all relied on the underdog story – the story of a righteous officer against somebody who was never questioned in terms of power dynamics. And we rested it on storytelling as well as emotions. So, that has not changed.
Of course, there is a lot of exposure now to different content, but the challenge was always there. In filmmaking, the one element that we really depend on – apart from telling a good story– is the emotion of it. An American story, of course, can work here also in terms of reception; but the connection that one would have from an Indian story would be very different.
Often, your protagonist is fighting the system and from within the system. So, you’ll have a lawyer or a police officer or an Income Tax officer, who is trying to get things done in a system that is really not enabling them to sort of take things on. Is this a conscious personal sympathy point – towards people who try to deliver results while they are inside? Where does it come from?
I find them fascinating. A lot of these people are government employees, a lot of them I know personally because they’re my friends, and I’m aware of their struggle inside the system. The limitations, what they are up against, the politics of it, and there are repercussions to their actions. They have to perform their duty despite these hurdles, be resourceful without the resources, put their own resources because they are passionate and be sure about something that they are doing, because in these jobs sometimes you work with facts and evidence, and sometimes you work on your instinct. There is a heroic nature to these jobs.
So, these things really fascinate me. And it is very dramatic. I’ll give you two small examples from when I was researching Raid. One of my Income Tax friends, when they raided somebody who was evading taxes, they could not recover anything from him. And it was a very high-profile raid. Suddenly, acting on instinct, this I-T guy remembered what was the last thing that this guy wore, and he got that shirt and pants.
And there was a chit in his pants – and the entire case was built on that (what was written in it). It was so instinctive, so subtle and dramatic.
And the second incident was long back, I guess in the early 2000s or mid 2000s – when there was a riot about to happen between two communities. The DM and SP, whom I know, came in between (the two groups) and told them that if you want to harm each other, you have to first kill us. Everybody went back, nobody did anything. It was so dramatic.
So, one incident was so subtle, and the other was so in-your-face dramatic. These are the kinds of dramas that really, really fascinate me. And it is always an underdog story.
How are the characters in your stories underdogs?
In Aamir, he was a normal guy who was standing against a thought process. He was asked to do certain things he was against – and we rooted for him. In No One Killed Jessica, we rooted for Sabrina and for the journalist Meera’s character, and we wanted them to win because they were up against a system, against powerful people. If you look at Raid 1 or Raid 2, it is a normal government employee who is again standing against powerful people. In India’s Most Wanted, our protagonist went to another country to get India’s Most Wanted terrorist, and we rooted for these people.
So, that’s how that underdog element comes in, and there is an inherent emotion attached to it. Most of us – if not all of us – have been underdogs in our lives. We have been up against something or someone at some point. It might not have looked that larger-than-life in our day-to-day life, but we all have lived it.
So, what is the general throwback of your career in your mind at this point in time – after this movie?
(Laughs) I mean, as a filmmaker, I feel that my job is to tell a story and I’ve been doing it. This is my sixth film. I feel that I have just started, you know. There is a lot to learn, and there are so many new things coming. There are many stories to tell in terms of narrative style – one would want to explore various elements and stories.
In terms of throwback, one always looks at whether the stories that I’ve told till this point have connected with the audience or not. And I’m happy about the fact that, largely, it has connected to the audience. That gives me the strength to tell more stories, and explore, experiment.
One of my films has not worked – India’s Most Wanted. To some extent, Ghanchakkar had a mixed reaction. But it was an average film. I don’t know why...
What did you do differently in those two projects?
Nothing. As a filmmaker, I have told all my stories with sincerity and trusted those scripts. And I still believe in those scripts. But it happens. You know, you go with your conviction. Some work, some don’t work. And that’s the way it has been. But it has nothing to do with what I did differently in those films. So why they didn’t work is still a mystery to me, but I told those stories with equal passion.
During No One Killed Jessica you said that Delhi is a city with more power than it can handle. You have also had some degree of exposure to Delhi from your background and studying here in Ramjas College. Is it different making a film set in Delhi’s power corridors than going to the hinterland and making stories like Raid? Are there different dynamics?
Yes, for sure. Because there is a physical complexity and an emotional complexity to Delhi. Delhi is the centre of power, and so many things happen in this city which probably would not happen in a smaller town like, say, suppose – in Kanpur or Lucknow or Patna, or, for that matter, any smaller places. And our nature as humans might be very different in a bigger city than in a smaller city because of exposure...
The humour is also very different. The humour that would come in a smaller town in terms of power politics would be more defined than what would come in a place like Delhi.
Any film that you sort of watched and felt ‘I wish I had got a chance to direct this one’ recently?
No.
That means you’re happy with your CV?
No, I’m not saying that I’m happy with my CV. I’m just saying that I’m happy that I got the opportunity to make the films that I have. I’m also a student of cinema, as other filmmakers are. So, I’d love to make different films, explore different genres, and I’m glad that I’ve got an opportunity to make these films that I have made.
If you look at my films – those were not very usual, formula films. I’m happy about the fact that, largely, my work has connected to the audience. It could very easily have been otherwise, and I am fully aware of that. And that’s what gives me strength to tell more stories and explore more genres, more challenging stories.
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It is always an underdog story... In Aamir, he was a normal guy who was standing against a thought process. In No One Killed Jessica, we rooted for Sabrina and for the journalist because they were up against a system, against powerful people. In Raid 1 or Raid 2, it is a normal government employee who is again standing against powerful people
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As a filmmaker, I have told all my stories with sincerity and trusted those scripts. Some work, some don’t work. But it has nothing to do with what I did differently in those films. I told those stories with equal passion
I don’t want to mourn Sabrina Lall’s death. Instead, I want to celebrate her life-Raj Kumar Gupta
8:06 AM
Director Raj Kumar Gupta – whose film No One Killed Jessica focussed on Sabrina Lall’s long, uphill battle to bring the killers of her sister Jessica Lall to book – says he’ll remember her for her relentless courage
By Raj Kumar Gupta (BOMBAY TIMES; August 17, 2021)
I don’t want to mourn Sabrina Lall’s death. Instead, I want to celebrate her life. I want to remember her as a braveheart, a fighter, and as a person of great integrity and compassion. I want to remember her as a warrior who was not afraid to fight for justice, no matter the power and strength of the opposition.
I want to remember Sabrina as a person who was responsible for galvanising the consciousness of a country into questioning — are you ready to take injustice lying down?
She certainly was not!
In a city like Delhi, that had more power than it could handle, she made us believe that courage is not something that can be bought by power and money — that courage is to stand up, face it and fight, no matter how strong the headwinds are. I also want to remember her as a gentle, beautiful, introvert soul — full of understanding and compassion for fellow human beings.
In films, the screen heroes always put up remarkable and sometimes unbelievable fights against villains and win against all odds. The part of the heroes is aptly written on paper, propped up and performed inside the confines of a studio, ably guided and assisted by highly skilled stuntmen.
In real life, there is no script, no studio, no stuntman or a stuntwoman to fight your fights. I want to remember Sabrina as someone who fought her own fights, including an incredible one, against all odds and she WON. I want to remember her as a HERO, a REAL ONE!
2010: IN AN INTERVIEW FOLLOWING APEX COURT’S JUDGMENT UPHOLDING JESSICA’S KILLER MANU SHARMA’S LIFE IMPRISONMENT
“The sense of loss remains. See, the gain has only been putting a certain thing to end, which was punishing the boy who perpetrated the crime. But that cannot bring back any of the people I’ve lost. It cannot bring back my mother or my father. When I look back, have I gained anything? I don’t think so. But like my family, I try and look at the positive side of things. I hope they’re happy wherever they are, life has to carry on. I can’t spend my life crying and moping all the time, I think the happier I am and the more I do in my life, they will be happier too... I believe they are somewhere around.”
2018: A FEW YEARS LATER, SHE SPOKE TO US ABOUT LEAVING BEHIND WHAT HAD HAPPENED, AND HOW SHE NO LONGER ‘CARED’ ABOUT MANU BEING GRANTED BAIL OR BEING RELEASED
“He messed up my family and I think he has paid for it. Fifteen years is a long enough time. I wanted justice for my sister, and I think I achieved it. Now whether he spends another two years in jail or three years, it doesn’t really matter to me.”
“It’s not about forgiveness. It’s that I don’t really — it sounds horrible — I don’t care if he comes out of jail. He messed up my entire family and I think he has paid for it. Fifteen years is a long enough time.”
“It’s been far too long for me to hold on to so much anger and resentment, and I just don’t feel that it is worth it anymore.”
No One Killed Jessica stood up for so many things. I’m glad people still talk about it-Raj Kumar Gupta
8:26 AM
Raj Kumar Gupta’s No One Killed Jessica completed 10 years recently. Reflecting on the film, the director says he’s proud to have told a story that needed to be said
Niharika Lal (BOMBAY TIMES; January 10, 2021)
The film shows the journey of Jessica’s sister Sabrina, played by Vidya Balan, in getting justice for her sister and how she is helped by a journalist, played by Rani Mukerji. Last year, while speaking to us after Manu Sharma was released from jail early due to good conduct, the filmmaker had said, “As a filmmaker, you have to hope that these kinds of films might have an impact on those who are victims and on the culprits as well. You’d want to believe that we don’t make cinema in a vacuum. Yes, we keep making such films, but these incidents still happen. However, that shouldn’t stop us from telling those stories. We should not stop reflecting or telling stories that put a mirror to ourselves and to the society, and hoping things will improve.”
As the film completes 10 years, the director looks back at the journey and says he’s proud of telling the story that needed to be told. Excerpts from a chat:
‘NOKJ WASN’T AN EASY FILM TO MAKE’
NOKJ stood up for so many things — right things. I’m glad that people still talk about it and the film is seen as a reference point to the case. At that time, it was not an easy film to make. There were so many things that were not in favour. It was such a sensitive topic. We had female protagonists, and at that time there were not many femaleled films. It was a big challenge to make the film and to get it released. It was also believed that a January release won’t work. But the film connected with people, they loved it. I am glad that I got an opportunity to tell the story. I thank Sabrina for trusting me to tell the story which needed to be told. Ten years down the line, I am proud of the film.
‘MEDIA WAS INSTRUMENTAL IN JESSICA LALL CASE’
If you look at the word ‘media trial’, the word itself is not right. Trial — where is it supposed to happen? In the court. Media trials can never be a positive thing because obviously the media is not a court. What happened in Jessica’s case was not a media trial, I think it was a campaign for justice. I think, when the media saw that justice was not served, they raised their voice and brought out the facts. That connected with people, which further led to the campaign for justice. Ultimately, the court saw it. I think the media was instrumental in Jessica Lall’s case. It was the positive side of media.
‘SPARKED OUTRAGE WHEN WITNESSES DIDN’T STAND FOR WHAT WAS RIGHT’
In Jessica’s case, after the first trial, it was clear that justice hadn’t been served. The accused were let go. That’s when people raised their voice. Jessica was let down by the witnesses, the judiciary system and the bureaucracy. Justice wasn’t done because she was let down at so many levels. People (witnesses) should have stood for what was right, but they didn’t. That sparked an outrage. That was the moment when media questioned why justice was not done to her. Regular people stood up for her and questioned and all these happened — protests, candlelight vigils and campaigning for justice.
Delhi is a city with a lot of power, more power than it can handle-Raj Kumar Gupta
7:55 AM
As the legal process comes to a close in the infamous Jessica Lall murder case with Manu Sharma being released from prison after spending 17 years behind bars, Raj Kumar Gupta, who made No One Killed Jessica, reflects on the strength of Sabrina Lall, Jessica’s sister, and the typical ‘Delhi’ power mindset that drives incidents such as this
Anshul Chaturvedi (BOMBAY TIMES; June 4, 2020)
What do you recall of the events that led you to make No One Killed Jessica? In an earlier interview you had said that NOKJ ‘was a story born out of tragedy’ and that ‘I spent 20-25 days with Sabrina. I used to sit with her for two-three hours every day. It was not easy and you get overwhelmed’.I had finished my first film, Aamir, and I was looking for my next film. We were all aware that this (the Jessica Lall murder case) could be a good subject to explore. Emotions were running high, there was tragedy, injustice and the media had done a good job of bringing that incident to the forefront.
The first step was to meet Sabrina, tell her that we wanted to make a film on it and see what she thought about the idea. That’s how it all started. After that there were two parts. The first was sitting with Sabrina and getting her thoughts and experiences, whatever she had been through. The second part was reading – there was so much to be read, so many versions, reports and stories. For 20-25 days, I spent a couple of hours daily with Sabrina. I used to go and meet her and go through the timeline and what she had gone through. It was so emotional, overwhelming... it affected me. It was quite a long process. By the end of it, I was emotionally overwhelmed.
As far as Sabrina was concerned, I found her very open. Of course, she was very emotional. She was also very strong. There was a certain angst as well about what had happened, fairly so. She had lost her sister, she had lost her parents. But I found her very strong, very emotionally balanced. She had specifically told me that she was not ready to forgive the person who had killed her sister, but then in 2018, when she was asked about Manu being pardoned early, she was okay with it. That again shows how strong her character is – she is somebody who is ready to let go. It made me remember a quote by Mahatma Gandhi, that ‘The weak can never forgive. Forgiveness is the attribute of the strong.’
So when you researched the story, you would have spoken to the nightlife sector, the bureaucracy, the police, lawyers, the system and so and so forth. What was the sense you got in the city’s vibes – how ‘typically Delhi’ was the incident?
In No One Killed Jessica, the monologue that comes when the film begins, it is the voice of the journalist (played by Rani Mukerji) who is talking about Delhi. She says that she has never understood Delhi. It is a city where people are ready to show power, ‘You don’t know who I am’. I tried to address that because I have lived in Delhi. I studied in Delhi and spent three-four years in the city, graduating from Ramjas College. So that side of Delhi is something which I had seen. The wrong side of masculinity. It really, really disturbed me.
Do you think Delhi has changed at all in ten years? Stories of people pulling out a gun at the smallest of provocations continue to be part of what Delhi — NCR, actually — is.
I would like to believe it has. But whenever I visit Delhi, I do not see it. Delhi is a city with a lot of power, more power than it can handle. I think that is something that really corrupts people. It has too much power to be impartial or to be fair. So I don’t know if it is as bad it as it was, but I think that not much has changed. That kind of power wakes up the monster, the evil.
What is your take on Manu — not in terms of your movie’s character, but as someone who read the news, and followed what was actually happening?From whatever I read or saw, it was a very typical representation of what power does. It was very typical of how these characters behave, you know, when they are drunk in a bar or when they think they can get away with it. It was a very typical kind of a character.
NOKJ is among many realistic films where a Delhi-based female character has to bear the brunt of what happens – Talvar, Chhapaak, Pink, even Thappad. As a filmmaker, does this make you feel optimistic that these topics are now discussed in the public domain, or disturbed at how NCR is such a fertile territory for such topics and stories? Do such movies make a difference to how we conduct ourselves?
As a filmmaker, you have to hope that these kinds of films might have an impact on the people who are victims and on the culprits as well. You would want to believe that, we don’t make cinema in a vacuum. Yes, we keep making such films but these incidents still happen. But that should not stop us from telling those stories. It takes a lot to tell a No One Killed Jessica, or Talvar, or Chhapaak, or Thappad. I don’t think we should stop reflecting or telling stories that put a mirror to ourselves and to the society.
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DIDN’T MEET MANU TO PREP FOR NO ONE KILLED JESSICA: ZEESHAN
Niharika Lal (BOMBAY TIMES; June 4, 2020)
Mohammed Zeeshan Ayyub made his film debut with No One Killed Jessica, in which he played a character based on Manu Sharma. He says he never met Manu to prepare for the role. “Raj Kumar Gupta had told me that he didn’t want me to meet the real convict, so I didn’t really prepare for the role and just acted raw. I just had two scenes in the film and a few shots. I focussed on two things for the role – the character didn’t speak English properly, and he had a Haryanvi tone. But after the movie, I never looked back or followed the case. Honestly, I never followed this case, neither before doing the film nor after.”Ravindra Kaushik’s family trusted me with the rights to his story-Raj Kumar Gupta
1:20 PM
Raj Kumar Gupta on what makes the Black Tiger fascinating, his journey with India’s Osama and why he is against taking creative liberties with translating real-life stories for the big screen
Himesh Mankad (MUMBAI MIRROR; May 10, 2019)
Raj Kumar Gupta is at his office, waiting. And the first thing he says is, “I hope you have some interesting questions that I would enjoy answering.” And that sets the ball rolling. Excerpts:
For over a decade since Aamir in 2008 to the soon-to-release India’s Most Wanted, all your films have been thrillers. What’s with the fascination with this genre?
It’s something that comes naturally to me and is not genre-specific. Yes, Aamir, No One Killed Jessica, Ghanchakkar, Raid and now, India’s Most Wanted are high on thrills, and drama and humour too. Every film has different moments and I approach them in a way that all the elements come together in a thrilling manner.
When did you decide on making a film based on this lesser-known mission of the Intelligence Bureau which led to the capture of India’s most wanted terrorist?
I started researching the subject in 2013 and thought this story deserved to be told to a wider audience. I took another year to finish the script and then, I got busy with Raid. But right after that, around four years after being involved with the subject, everything fell into place. What kept me going was how unbelievable the story is, the information is not readily available, but I wouldn’t let it go. Imagine five unlikely people on a mission to capture India’s most-wanted terrorist without a single gun? If this doesn’t sound cinematic, I don’t know what would!
Arjun hasn’t played such a character, what made you opt for him?
I think it’s great to have unlikely actors playing roles of unlikely officers on a mission. Arjun and I have been talking about doing something together for a while, and after seeing the trailer of Raid, he called to congratulate. We got talking and he asked, “What are you doing next.” I told him I was working on something and was sending it across. “Just read the script and tell me what you think of it,” I told him.
Then?
The conversation took place at 1 pm, and at 5 pm, he called asking me to let him be a part of the film. What he brought on the table was a passion for the script and a love for the subject.
Tell me honestly, after working with Ajay Devgn in Raid, didn’t you think of casting him?That’s a difficult question because we had a great time shooting Raid and the film did really well at the box-office. But I knew that as an actor, Ajay had different commitments and as the director, I wanted to start this film immediately after Raid. So, we never even entered into a discussion. Hopefully, we will do something together soon.
Next up, a spy thriller, Black Tiger…
Yes, my partner and I have acquired the official rights to Ravindra Kaushik’s life from his family. He is famously known as the Black Tiger and I have been wanting to make this film for a while now. The family trusted me enough with the rights and I am currently scripting the film.
Will it be a period film set in the ’70s or are you planning to adapt it to modern times?
It would be ridiculous to make a film on someone’s life and change the time frame. That would be an insult to the person who has done so much for the country. I want to be as authentic as possible in my portrayal of that subject, as I have tried to be in all other films.
How did you come across Ravindra Kaushik’s story?
My wife (No One Killed Jessica actress Myra Karn) played a role in getting me to this script. It took three years to research and will take another year to finalise the script.
Buzz is, you have spoken to Hrithik Roshan to play the titular role.
I am not one of those directors who would approach an actor without a script. Having said that, I would love to work with Hrithik in the future, but I can take the casting call only after I have a script in place.
Any plans of working with your wife as an actor in your film?
She has worked with me on India’s Most Wanted as a producer and helped me in other aspects of filmmaking. As far as I know, she is more interested in being behind the camera than in front of it.
It’s fascinating that we were not even aware of who ‘India’s most wanted’ was-Raj Kumar Gupta
9:01 AM
Anshul Chaturvedi (BOMBAY TIMES; April 28, 2019)
Yes, people do ride on sentiments and encash them, but no, my project wasn’t timed to coincide with a nationalistic upsurge or the electoral season, I just want to tell a story of the unknown, passionate people, who do difficult things to protect us,” says Raj Kumar Gupta. Excerpts from a chat about his upcoming film India’s Most Wanted:
Is the current surplus of movies about the defence forces, old battles and secret agents happening because filmmakers are looking to ride the nationalistic wave for Box-Office success?It might be that somebody has been wanting to make a film on the same subject for some time and it comes together now, and it might be just about the country. In terms of filmmaking, as you know, any film takes one-two years in making. So, it is not that one is wanting to catch a certain sentiment. It is that you are wanting to make a film and the situation around you changes so much that when your film comes, it looks like you wanted to catch that sentiment, but it’s not that.
Also, it depends on what story you are telling. If you are telling a story of a soldier, and the basic premise is that he has become a soldier to defend the country, somewhere down the line, that moment will come when he will say that I joined because I wanted to do something for the country. Policemen or intelligence agency people do not do the job for money, they do it because there is a certain passion; they want to work for the country. If you are telling their story, there will be that situation, one scene will come and that will be very organic. One has to make a distinction when you see that — and don’t judge it as if one is just trying to ride a wave. When me or any other filmmaker is making that film, it is a story he has thought three-four years back and it is pure coincidence that it has come at this time. But if you ask me koi behti Ganga mein haath dhota hai ya nahi? Dhote hain. It’s not only in our industry. There is herd mentality everywhere. But just generalising it is not right.
Movies about intelligence officers tend to have an undercurrent that they are unsung heroes. But isn’t that the core point of that nature of work — to be anonymous?For me, their life is a story. Just because their nature of job is such, it doesn’t mean I will not tell their story. In Hollywood also, people have been fascinated by this, because it is an integral part of our lives. When I was making Raid, I was making a film on these real people who did things which were very difficult to do. That might be their job, but as a filmmaker, I find that interesting, I see it as a story that needs to be told. So yes, they are unsung, they are not coming out and saying anything, they have maintained dignity, but that should not stop me from telling their story as I find that story fascinating. Similarly, I thought that this story is something the country should know. ‘Unsung heroes’ is a phrase that one might say has been overused, but it should not stop me from telling that story.
There are so many superhero films being made, where the heroes save the world from evil. My film is also similar, just that my heroes are real heroes, based in the real world, dealing with real situations and saving real lives.
Is there a paradox between calling somebody India’s Most Wanted and having a degree of suspense for the audience about who he is? If he is most wanted, shouldn’t he be a universally recognisable name?
Don’t you think sometimes it’s fascinating to know who was India’s most wanted and we were not aware of it? Sometimes I also discover — Oh my God! Kya baat kar rahe ho! I was shocked when I learnt that he was described this way in intelligence circles. Why do we call Dawood India’s most wanted when this guy, who has killed so many people, was the biggest target? He was number one on the list. At times you discover these things and that becomes fascinating.
What’s also fascinating about these stories that one might not have heard is that they also show how these people (in the intelligence agencies) work, what they go through, what are their limitations. You see their lives. You might not know what they do to protect you and for me that’s fascinating. I might just stop and say thank you.
After your film’s teaser released, there were conflicting opinions on one element — the background voice quoting the Gita to justify killings.
What you see in film is not something cooked up. It is inspired by true events. It is a story about how one of India’s most wanted terrorists was captured without firing a single bullet. As far as the quote is concerned, when I was researching it was as intriguing to me as it is for the viewers — people who do these things, how they twist words and how they quote things to justify their acts. When somebody was interrogated, he quoted this (the Gita). And, in the film, there is a befitting reply the protagonist gives. Right now, what everyone is seeing, is one side of the film. One has to see the film to see the reply. We all know how people are brainwashed, how words are twisted and this is something which has come from the real life event. I can’t tell you more than this at this point.
When you talk of terror, it is as much about the ideology of the terrorist today, as it is about the actual acts of violence, isn’t it?
I think it is very complex. It is not something which has an easy answer. We all respect all religions and I don’t think any religion teaches violence. There are words which are twisted, quoted by these people to justify their acts.
So the man quoting the Gita has a certain philosophy. In multiple movies, the protagonist against the state — in some movie a terrorist in Kashmir, in another a Naxalite in central India — is a challenge for the filmmaker. How much do you humanise the character who picks up a gun against the state? Are you owning him as a misguided, brainwashed citizen who can be reformed, or are you saying that this is a man who should be shot?Of course, every side has a human story. Going back to my first film, Aamir, it has that same debate where a person from the same community is on a different side of the debate. One is wanting to do something and this man is saying this is happening to us and he should believe him, but he says I don’t believe in you, I have lived my life, I don’t see your point of view. That is a humanistic debate. In these kind of situations whenever someone is trying to prove a point, he might give his reasons, which might be true and might not be, it depends on the desperation level of someone who is trying to impose something on the other person. But it’s on me whether I have that mind to make my own opinion and then act on it. So in that sense, there was an answer in Aamir, and that’s how I approach my subject. When one is doing that job, there is a justification which one wants to give, but then there is this counter point which comes in. And it says that nothing can justify that kind of violence. No one preaches that. That debate has to happen at a human level. It has to be person to person.
There is that fine line — either you glorify a terrorist and it becomes a propaganda for that side, or you degrade him so much that looks like a caricature, an unrealistic portrayal. How do you draw that line — portraying the person as a human being and yet not being sympathetic towards him?
I think it’s a debate while you are writing, filming, pitching your character. At best, it’s your instinct hoping you don’t fall on either side and you have a balanced point of view. But, as I said, there is no justification to killing people, so in that sense, one has to come back to the argument.
Your teaser got caught up in the election fever as well. BJP supporters quoted it and asked why the Congress didn’t act against this terror from 2007 to 2013. Congress supporters asked why the current government hasn’t taken the case forward yet. A teaser about a nameless, faceless terrorist led to political debate. Did you see this coming?
I have been researching this subject since 2013. At that point, I was not aware who would be in power today. There was something that I found interesting and I started researching on it to make a film. We all know how hyper-sensitive we are and we all know how anything and everything can be politicised and right now in this environment, with the ongoing elections, anything can have any meaning, but from my point of view it is not something I want to get into. It is a film, a story I wanted to tell for the last four years. It took me some time to research, write this story to make sure that I get it right. We didn’t plan to release it now (in election season).
How has the man who made No One Killed Jessica not made a film on Nirbhaya yet?No One Killed Jessica was a story born out of tragedy. I spent 20-25 days with Sabrina. I used to sit with her for two-three hours every day. It was not easy and you get overwhelmed and when you are doing something like this, you keep two things in mind — the sensitivity of the subject, of people, as well as getting overwhelmed by the subject itself. Then execution slips. After I finished my research, I was not sure whether I will be able to do it. I took over a month’s break from the entire research, so that I have some perspective when I would write it. Even after I started writing it, I was not sure if I would be able to do justice to it. But as you start writing it, things start coming together and you start balancing it, then only you realise there is some form you are able to give to that story.
So it is very difficult when you are dealing with tragedy. Also, you want to have a perspective on that subject, you don’t want to just do it for the sake of doing it, thinking okay, this is the case, it is such a gruesome tragedy and now I want to bring in my emotions in telling this story.
So did you go back and disengage and de-emotionalise your reflex?
Not in terms of emotions. It’s something that the entire country has been affected by. I need to understand that, not the tragedy of it, we all know the tragedy of it. It is a sensitive subject and you have to have some perspective on that subject. You have to know the entire thing, you do not want to sensationalise it. As a filmmaker you are always scared. I am always scared as I don’t want to sensationalise things. I want to have a perspective on things and then tell those stories. So probably, five-six years down the line, I might think that I have a perspective on telling that story. Then only I would want to attempt it.
Is there any emotional cost to it for a filmmaker?
It has an emotional cost because you have to recreate those emotions. As a filmmaker it is not that you go and say that chalo ye karo, let’s shoot this. When you are shooting something like this, or even in No One Killed Jessica, or any other film, it’s never that you come and start shooting it. There is an emotional journey that you have to go through. When you are living a tragedy, it’s not just about that. You are thinking about a person who has gone through that. It kind of kills you. You become numb because you have to relive that and you have this added responsibility of doing justice to the subject or that situation, which is not easy. So emotionally it is very, very difficult.
A story can be real or fictional, it has to inspire me-Raj Kumar Gupta
7:07 AM
Renuka Vyavahare (BOMBAY TIMES; December 10, 2018)
After a decade of filmmaking, writer-director Raj Kumar Gupta, who is known for making edgy and provocative thrillers inspired by true-life events — Raid (2018) and No One Killed Jessica (2011) — will venture into production with his upcoming film. An espionage thriller titled India’s Most Wanted (IMW), it will star Arjun Kapoor. In a chat with BT, Raj spoke about his foray into production and shared his excitement about the eventful year that lies ahead…
2018 has been a good year for you. Not only did Raid (right) turn out to be a success, but you also managed to finish the shoot of your next — IMW. That’s two back-to-back films.I finished the shoot of Raid in December 2017 and then finished IMW in November 2018. So, I have been lucky that everything worked out. After Ghanchakkar (2013), it took me almost four years to make Raid. When you are making a film, so many things can go wrong, but I am glad that didn’t happen this time around. Also, I could finish two films within a year, because I was working on IMW’s script for three years. During the post production of Raid, Arjun Kapoor called up and I gave him the script of IMW, and he totally loved it. I am thankful to the audience for appreciating my films over the years. I am ending 2018 on a happy note. It’s been fulfilling.
On the personal front, you got married this year to actress Myra Karn (who starred in No One Killed Jessica [pictured left]) ...It has been a great year for me, personally and professionally. Thanks to back-to-back shoots, we weren’t able to spend time together, so now is the time for that. I came out of Raid, got married and right away started the shoot of IMW, so we deserved this break. We are off to Europe for a month.
Most of your films are based on real-life incidents and are an ode to unsung heroes. Are you more drawn to stories like that?
A story can be real or fictional, it has to inspire me. It’s not that I only dig reallife incidents or certain genres. It has to affect me enough for me to tell the story and compelling enough to evoke a reaction. Mostly, I write my own films so I look at it that way.
Writer, director and now producer, how difficult is it to don multiple hats?
It makes you more responsible. Writing and directing are two different processes. When I am a writer, I don’t consciously think about how a story will translate on the screen. Once I am done with writing, as a director, I hope to take the execution to a whole new level. When you do both, you understand the subject better. I am co-producing IMW with Fox Star Studios. This is my first feature film as a producer. It was great. I have a very efficient production team. They handle everything, while I just concentrate on writing and direction.
It took you three years to make IMW. That’s a long time...
Yes, it’s the longest that I’ve worked on a film. It is very close to my heart. One of the prime reasons was its story, which deals with the capturing of India’s Most Wanted terrorist, without firing a single bullet. This is the crux of the story, but other than that, there are various other facets to it that also inspired me.
What are you working on next?I am writing two scripts at the moment. One will be a social drama and the other a biopic, which I am super-excited about. I have acquired the rights to make a film on the greatest RAW agent — the late Ravindra Kaushik (right), who was known as the Black Tiger. This is one film I have wanted to make for a long time. I have been working on its script for the past eight months. The casting will happen once I finish writing the script.
Your films are high on content and also entertaining. How do you strike that balance?
Human emotions are the same and we connect on the same level. So, if a story touches me, chances of it affecting others are also high. I always try and look at a story from a third person’s point of view to ensure that it has a universal appeal. I try to maintain integrity as a creative person. You have to be true to the characters and stories you write.
You started off in 2008 with Aamir. It’s been a decade of filmmaking for you. What has been the journey like?
Unless someone reminds me that, it doesn’t feel like 10 years. Filmmaking is not an easy process. You live so many lives with each film, so you don’t really get the time to mull over the years that have passed by. You get so consumed. The biggest lesson that I have learnt over the years is persistence. You have to keep going against all odds — budgeting, time constraint, etc. You have to be constantly positive and you cannot lose heart.
The marriage with Myra Karn was instinctive, but the journey was long drawn-Raj Kumar Gupta
8:26 AM
Renuka Vyavahare (BOMBAY TIMES; July 9, 2018)
Back from their honeymoon in Seychelles, the newly-weds — acclaimed filmmaker Raj Kumar Gupta and his actress wife Myra Karn — spill the beans on their love story in an exclusive conversation with Bombay Times. Myra, who has acted in Raj’s much-acclaimed film No One Killed Jessica, uses her father’s first name (Karn) as her surname. ‘I think Myra Karn Gupta would be too complicated’ she says, smiling. Raj eased into this personal interview slowly, as he prefers to let his work do the talking. Read on...
You seem to be extremely different as individuals. While Raj comes across as shy and introverted, Myra, you are outgoing. What drew you to each other?
Raj: Well, opposites attract (smiles). I could relate to her. She is intelligent, has a great sense of humour and is simple. And not to forget, beautiful.
Myra: His simplicity was refreshing.
Myra, when you date a person who’s shy, who makes the first move?
We were friends first. He never expressed it in words, but I could feel it. Also as you grow older, you begin to understand what a person has to say without he/she saying it. There was no ‘dating’ as such. Whenever I was abroad, he would fly down to meet me and that said it all.
Since you were thick friends before you started dating, did either of you fear getting friendzoned by the other?
Myra: When you are looking at spending the rest of your lives together, you want someone you know well rather than pondering about the fear of being stuck in a friend zone. In fact, there’s a certain comfort factor. I don’t feel like I am married. I have to remind myself of that!
What made you two finally take the plunge? Did you feel that the time is right, or were you sure that you had finally found ‘The One’?
Raj: It was on my mind for a while, but I have never planned my life, and our relationship, too, was organic. The marriage was instinctive, but the journey was long-drawn.
Myra: He proposed four times. First in Florence, then New York, Berlin and finally, London. I took my time, as it’s a big decision, but I was sure that if I ever got married, it would be to him.
Myra, we heard that you are a gym enthusiast...
I love working out and doing weights. Men in the gym get insecure when they see me lifting weights.
How was your honeymoon in Seychelles?
Myra: It was my first beach holiday. I did kayaking and snorkelling. I often end up traveling to cities when abroad, so this was a good change.
Raj: Since I am not a good swimmer, I just watched the waves. I prefer quiet places, but since I have chased Myra across the globe, I too have ended up in many cities.
Raj, you have spoken about Myra giving you creative inputs sometimes. How does that work?
As a friend, I discuss ideas and scripts with her. Whenever I want a different perspective or a female perspective, I go to her.
Myra, why haven’t you done a single film after No One Killed Jessica?
I got offers from reputed filmmakers, but I didn’t feel like pursuing acting. Coming from an academic background (she is an engineer), acting wasn’t my goal. Even No One... happened by chance. Raj convinced me to do it. I never craved for money or fame. I am more comfortable behind the camera. I just produced a short film and another Bollywood film is in the making. I like to do my own thing.
Will we see you two collaborate in the future?
Raj: As a director, if she offers me a good script, I will make her film. But the script needs to have that appeal.
My superheroes are real people, they don’t fly-Raj Kumar Gupta
8:08 AM
Celebrating the success of his latest release, Raid, Raj Kumar Gupta on why the story of an income tax officer garnered his interest
Shaheen Parkar (MID-DAY; March 25, 2018)
Raj Kumar Gupta is a relieved man. His latest offering, Raid, has turned out to be the second biggest weekend opener after Padmaavat this year. The film’s first week collection totalled Rs 63.05 crore and it is still running strong. “For us, it was important to make a good film. Getting an overwhelming response is humbling, heartening and energising,” says the director. “Numbers do matter, it is a business after all. The producer is putting in money, while the unit puts in their heart and soul into the project. To make more films, one needs money. When a producer reaps profits, it is good for the industry.”
Gupta’s last film, Vidya Balan and Emraan Hashmi-starrer Ghanchakkar (2013) was an underperformer. He says, “It garnered extreme reactions — either people hated it or loved it. It did not make as much money as expected. People who loved it were lesser than those hated it. There will always been that one project for a filmmaker that will not receive as much appreciation as his other ventures.”
It has been 10 years since Gupta’s directorial debut Aamir, starring Rajeev Khandelwal, hit screens. He followed it up with the critically-acclaimed No One Killed Jessica (2011), which featured Rani Mukerji and Vidya Balan. Gupta is known to excel at making slice-of-life film. “I am happy that I have got a chance to make such films. I am fascinated by the extraordinary stories of ordinary people. My superheroes are real people, they don’t fly. But it does not mean that I will not direct an imaginary story. If I connect with the plotline, I’ll do it. It must have a soul.”
Raid was offered to him by producer Kumar Mangat. “I found the plot fascinating. It was an unbelievable story about people we hear little about. There is a lot of negativity attached to income tax officers, but we must realise that they are only doing their job. The time frame was fascinating. Corruption has existed since long. So the story was relatable.”
Far from basking in the laurels, Gupta has already started work on his next. “It will be a real story again,” he says.
Today, films don’t have characters that are starkly black or white-Raj Kumar Gupta
7:15 AM
Lasyapriya Sundaram (BOMBAY TIMES; March 16, 2018)
Filmmaker Raj Kumar Gupta is known for critically-acclaimed movies like Aamir (2008) and No One Killed Jessica (2011). In 2013, he stepped out of his comfort zone and dabbled in comedy with Ghanchakkar, but the film failed to impress the audience. Now, he’s back with Raid, which is based on one of the most high-profile income tax raids conducted in the 80s in Uttar Pradesh. When BT caught up with the director, he talked about why he is drawn to real narratives. Excerpts…
You have taken to the director’s chair after a gap of five years. Did the failure of your last film Ghanchakkar deter you?
The first three films I directed were in quick succession, but Raid took some time to materialise. Out of the three films, Ghanchakkar garnered the most extreme reactions. People either hated it or loved it, but when it plays on television now, I get calls from people who tell me that it’s a good film. Ghanchakkar not doing well at the box office didn’t deter me.
Real stories are your forte. What draws you to them?
Nobody knows much about the IT raid episode that forms the crux of Raid. In my films, I look for that one element that makes the story unbelievable. As the saying goes, truth is stranger than fiction and that’s what draws me to stories that are based on reality. When the IT raid was conducted in the 1980s, social media was non-existent and hence, very little is known about the case. That gave me a chance to dig deep into the subject, because there was an element of mystery around it.
Is the story of Raid about good vs evil?
Today, films don’t have characters that are starkly black or white. A narrative like that of Raid, has characters that are layered. I always try to explore various aspects of people.
When you dabble in real stories, do you feel that people will take offence to your interpretation of the story?
As a filmmaker, I want to do my job responsibly. Of course, we fear backlash; what if someone says something against it? When that happens, one feels sad and disheartened, but that doesn’t mean I’m going to give up. The attempt is to tell the story in the most responsible way possible and the idea is not to offend people.
When you are working with Ajay Devgn, you have to put in an extra bit of effort-Raj Kumar Gupta
8:11 AM
Mohar Basu (MID-DAY; February 7, 2018)
Given that he has limited films to his credit since his Bollywood debut in
2008, Raj Kumar Gupta admits that luring Ajay Devgn into green-lighting
his film, Raid, was a challenge. “When you have an enviable body of
work, like he does, and your repertoire boasts of acclaimed films, you
are tough to lure,” he says about his leading man.Given that Devgn, over his three decade-long career has “seen and worked on every type of film”, he isn’t easily impressed, Gupta says. “To merely say that you have a concept in mind for him, will not appeal to him. We went to him with a strong script, and that’s what convinced him to do it. When you are working with Ajay sir, you have to put in an extra bit of effort.”
Raid, set in the ’80s against the backdrop of Lucknow, is based on a real-life income tax raid believed to be among the most significant in the history of India. “I first heard of this story when Kumar Mangat Pathak [producer] mentioned it. It seemed like an interesting idea. Ritesh Shah [writer] and I started developing it.”
Since the story is inspired by true events, maintaining authenticity and taking cinematic liberties simultaneously was like balancing on a tight rope. “To be able to delve into the creation of a film apt for the big screen, I had to deviate from the truth. We had to make the story entertaining and energetic.”
Raid was faster than any other project because the script felt right-Raj Kumar Gupta
8:21 AM
Sanyukta Iyer (MUMBAI MIRROR; January 31, 2018)
A striking Italian poster of Sergio Leone’s 1966 epic Spaghetti Western, The Good, the Bad and the Ugly is hard to miss at filmmaker Raj Kumar Gupta’s sprawling Juhu office. He admits that the film holds a special place in his heart and he picked this rare poster while vacationing in Italy a couple of years ago. Unable to cough up the names of any Hindi movies he’s loved in recent times, he goes back to mentioning Western cinematic legends and his alltime favourites — Billy Wilder and Frank Capra — and sheepishly points out that he’s not watched any Bollywood movies in the last six-seven months.
For someone who takes two years to make a film – Aamir (2008), No One Killed Jessica (2011), Ghanchakkar (2013) – you wrapped up your new film, Raid, in a few months.
(Laughs) I hope all my films get made like this! When I directed my debut film, Aamir, the enthusiasm was different, resources were limited and backing none. The leading man, Rajeev Khandelwal, fit perfectly in the script and everything fell into place in only 23 days. But the journey to Aamir began much before that because stories take years to develop.
Today, I would like to believe that I am wiser than I was 10 years ago. The gap between two of my films doesn’t bother me until someone close to me points it out and it is natural to feel bad about it. But Raid was one of those projects that came together seamlessly and it has been an absolute fun ride. There are so many variables in a film that need to come together realistically, and through all of it, the sole aim is to keep the director’s vision intact. There are so many resources that are at your disposal, and so many things completely out of your control. This one was faster than any other project because the script felt right.
The film is based on a real-life tax raid from the ’80s with Ajay Devgn playing a no-nonsense officer. When did you first learn of this case? What about it excited you so much?
The idea was narrated to me by producer Kumar Mangat, whose production team is constantly on the lookout for great stories. There are publicized raids, but this one was one of those rare stories that had lesser documentation and was pretty unheard of. So I thought about the real-life officer and his journey, with the addition of dramatic elements and immediately saw the possibility of an exciting film. Ritesh (Shah, writer of Airlift, Pink) and I started discussing the case. As storytellers, it was enjoyable for us because of the ’80s milieu, which is unique to that particular period yet remains relevant even today.
Ajay is a producer-director himself. Was he in sync with this vision?
Absolutely! Ajay is an absolute delight to work with. I got to know the intelligent, well-read and perspective actor that he is while shooting. When he reads the subject matter, he instinctively comes into the space of a scene. Raid is set in a realistic world, shot at real locations in Lucknow and other places in Uttar Pradesh and he understood this best.
Ghanchakkar didn’t quite match up to the critical acclaim of your first two films. What do you think went wrong?
There is a notion that the film generated losses for the producers, which is untrue. Yes, it was expected to do a certain kind of number at the box-office and somewhere down the line, we were all aware that it wouldn’t. It wasn’t massy. The film generated extreme reactions — more people hated it than loved it. And today, there are people who watch Ghanchakkar on TV and text me, “Hey, it wasn’t such a bad film!” As a filmmaker, I strive to not repeat myself and Ghanchakkar was an exploration of creative content. My attempt to be different, better…
What could have been different?
It’s tricky. It’s like two filmmakers making an ’80s drama — one part of the audience will call one a fantastic tribute to a bygone era and another part will discard it as a rehash of an period film. So no, at the end of the day, I am very happy with the film I made.
There was talk about a project, Section 84, with Kareena Kapoor, another film with John Abraham and Rajkummar Rao and an action-film with Sidharth Malhotra…
Kareena and I were working together on a film. When things didn’t work out, for several reasons, none of them bad, the momentum was lost. Likewise, Sidharth for Most Wanted. There was a discussion, and then we moved on. With John, I was set to produce a film, directed by my long-time assistant Amar Kaushik, who, I am very happy to say, is now making his directorial debut with another project (Stree, produced by Raj Nidimoru and Krishna DK and featuring Rajkummar Rao and Shraddha Kapoor). I am extremely proud of his journey.
My career has always been process and story-driven and I am lucky to have met people who have helped me in making these four films. I have taken my own time and it’s been my struggle, but I’ve always let my films speak for themselves.
Do you have plans to turn producer with a feature film this year?
Last year, I produced Aaba, Amar’s short film which bagged the Special Jury Prize at the Berlin International Festival and the National Film Award for Best Short Fiction Film. There was so much passion behind the film and I am fortunate to have been associated with it. This is what makes me a content filmmaker. I look at my journey one film at a time. The idea now is to promote newer talent and I will be producing two-three projects, some of which will mark the debut of my assistants soon.
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