Shahid Kapoor gets candid about professional disappointments, ex-girlfriends and sexting
Natasha Coutinho (MUMBAI MIRROR; June 12, 2019)

With his next film inching closer to its date with the box-office, Shahid Kapoor has been dominating the airwaves but his latest turn for the chat show BFFs was decidedly more candid than the rest. In conversation with Neha Dhupia, the actor not only discussed two of his most famous exes, Kareena Kapoor and Priyanka Chopra, but also looked back at professional disappointments. During the Colors Infinity show, the 38-year-old actor revealed that Priyanka, who tied the knot with beau Nick Jonas in December last year, invited him to the wedding reception in Mumbai.

When asked about Kareena, who married Saif Ali Khan in 2012, he said, “About Kareena I don’t remember, it was a while ago. I don’t think I was invited.” When asked to pick the better costar between Deepika Padukone and Ranveer Singh from Sanjay Leela Bhansali’s Padmaavat, he promptly went with the former. “I guess that’s because she and I needed to connect for our respective characters. I think I shared more with her because of that than I did with Ranveer,” he explained.

While on the topic of films, Shahid revealed that he was offered Rang De Basanti. “I regret not doing the film. They wanted me to play the role of Siddharth. I’d cried while reading the script and loved it but unfortunately couldn’t make time for it,” he rued.

But is there a film he wishes he hadn’t done? The actor admitted it had to be Shaandaar that also featured Alia Bhatt. “Even I was confused when I saw the film,” he chuckled.

Some of Shahid’s candour spilled over to his personal life as well, when he was almost coaxed into revealing who is the better sexter between him and his wife, Mira. “Equal hi hai, give and take hota hai. We are husband and wife so too much sexting is not really required,” he said, reluctant to spill the beans at first, finally revealing that he is the better one at it.

The actress plays the lead in a romcom three years after her debut in a film headlined by elder brother Shahid Kapoor
Avinash Lohana (MUMBAI MIRROR; July 4, 2018)

After making her Bollywood debut with Vikas Bahl’s Shaandaar that had featured her brother Shahid Kapoor and Alia Bhatt in the lead, Sanah Kapur will be seen in director Abhishek Saxena’s Saroj Ka Rishta, which deals with the culture of body-shaming in India. Sanah will start shooting for the romcom in August in Ghaziabad and Mawana.

“As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also with thin people. The idea germinated from there. The film essentially revolves around a father-daughter relationship with Kumud Mishra and Sana at the centre. There is also a love triangle with the two heroes Gaurav Pandey and Randeep Rai,” informs the director, who takes the film on the floors this month with writer Deepak Kapoor Bhardwaj.

Meanwhile, Sana says that she fell in love with her character. “I am looking forward to mould myself into someone who is from a completely different culture. It’s mysterious and offers great scope for exploration,” she explains.

Abhishek knew he had found his protagonist when he saw Sanah in Shaandaar. “She is like Saroj in real life too. Her character shares a fabulous relationship with her father who is worried about being separated from her when she gets married and insists that she find a man who can stay with them,” he laughs.

Prod Sanah on her second film since Shaandaar and she says, “I took a year to concentrate on theatre to help myself improve as an actor while looking for a script that I wanted to be a part of. I also did a feature that released recently (Khajoor Pe Atke) and dabbled in some short films as well,” she signs off.

Tanvi Trivedi (BOMBAY TIMES; May 18, 2018)

Sanah Kapur, daughter of actors Supriya Pathak and Pankaj Kapur, is happy that her parents never planned a filmi launch for her. The actress, who made her debut with half-brother Shahid Kapoor in Shaandaar (2015), will now be seen in Harsh Chhaya’s black comedy Khajoor Pe Atke. In an interview with BT, she talks about the nepotism debate, about carving her own identity and wanting to be unique.

Since you belong to a family of actors, did you ever feel the pressure of audience expectations? Do you feel your parents, Supriya Pathak and Pankaj Kapur’s image as actors will influence the kind of roles that are offered to you?
I only do roles that excite me. I am not thinking of what kind of expectations people have from me because it is futile to think about it so much. I am just trying my best like everyone else in the film industry. I literally grew up on film sets so doing a film was not something new for me. But just like individuals who don’t belong to film families, we too have our struggles, albeit in different ways. I admit that there is a certain vision filmmakers have, when you belong to a family of actors, and they might offer you roles depending on that. My growing up years were spent with friends who grew up to be pilots, engineers or doctors. Also, this nepotism debate does not hold true for me because my parents have never been in the centre of things in Bollywood. They have never picked up the phone and asked someone to give me a role. My parents have always wanted me to have my own struggle and carve an identity on my own. That’s why when people ask me, ‘why did your parents not launch you with a film?’ I honestly answer, neither me nor my parents wanted it that way. In fact, when I was chosen for Shaandaar, Vikas Bahl was not even aware that Shahid is my brother. He auditioned me and informed bhaiyya about it much later, when he came to know of my true identity.

Your film Khajoor Pe Atke is also a comedy like your debut, Shaandaar. What was new about this film and your role?
I play the daughter of Manoj Pahwa, who is the eldest brother of the family. While the whole family is worried about a relative’s health, my character has her own agendas and is trying to connect with a bigger city because she has always lived in a small town. It was a lot of fun playing this character because there was scope to do something different from what I had done before in my debut film.

Talking of Manoj Pahwa, it is believed that you are engaged to Manoj and Seema Pahwa’s son Mayank?
Really? I will keep my mouth shut on this and say ‘No comments’.

How was it working with actor-turned-director Harsh Chhaya, and sharing the set with actors like Manoj, Seema and Vinay Pathak?
When you work with a director who has worked in films as an actor, he understands the requirements of an actor. Harsh made us comfortable and was happy to let us explore a lot more than what we expected. There was a lot of freedom to improvise on scenes and I learnt a lot from all the actors. We were like one big, happy family on the sets.

Most Bollywood actors’ sons and daughters spend a lot of time and effort styling and grooming themselves. They’re all over social media too and are always present at the right place, at the right time. We don’t see you accompanying your parents or brother at public events though. Is it a conscious effort?
Like I said before, I was brought up like a normal child. Our work and family lives are different and though I take my parents’ feedback on many things, I have never been to any parties, especially when I grew up. It is only after Shaandaar, when I got invited, that I started attending parties. Most importantly, I am not a star kid. My parents are actors. I am acting because I am passionate about the craft and so I feel I should just go with the flow. Tomorrow, if I have to style or groom myself for a role, I will be happy doing it, but otherwise I believe in being true to who I am. I am proud of how I am conducting myself and I love myself. I did the role of a fat girl in Shaandaar, who doesn’t find a guy because she’s obese, as it offered me something different. I think it is important to be unique and enjoy what you do, rather than do something that everyone else is doing.

You mentioned before that Mira Kapoor does not like you calling her bhabhi…
(Laughs!) That’s a joke we share. Mira is younger than me and so when I started calling her bhabhi, she felt a bit odd and requested that I not do that.

Natasha Coutinho (MUMBAI MIRROR; May 16, 2018)

Over the weekend, Alia Bhatt will be auctioning some items from her personal wardrobe, the proceeds of which will go to a charitable organisation which recycles rejected plastic bottles to provide solar lighting to those with little or no electricity. “It’s an environmental cause which I’m passionate about, besides plastic is an important issue right now,” she points out.

The actress who’s riding high on the success of her recent release, the Junglee Pictures and Dharma Productions Raazi, is calling the garage sale ‘Mi wardrobe is su wardrobe’ (My Wardrobe Is Your Wardrobe). The sale will be hosted at a night market at Khar on Saturday and Sunday.

Alia informs that she’s been toying with the idea for three years as cleaning out her closet can be an ordeal. “There’s so much stuff I’ve bought but never worn or been gifted and worn only once. I quickly get bored of my clothes and want new ones, so this is fashion for a cause. I had this idea even before I started ‘Co-exist’ (Alia’s initiative that works towards forging a relationship between man and animal and ecological welfare) and plan to do it annually, every time for a different charity. This year I’m focused on plastic-purging,” she informs.

She says she isn’t a hoarder and doesn’t think twice before parting with clothes that don’t work for her. “Sometimes I order stuff online and realise they may not look as great on me as I had thought and have no qualms giving them away,” she says.

Among the items up for sale are a couple of t-shirts she’s worn to events and a beautiful skirt with a London bus on it. “I wore it during the Shaandaar promotions and have never worn it since. I bought it particularly for the event as it connected with the fact that we had shot the film in London. I’m a little impulsive that way. There’s also a beautiful green military jumpsuit that I wore for my trainer Yasmin Karachiwala’s book launch which doesn’t fit anymore,” she informs.

Quiz her on her personal style and she says for her it’s all about comfort and simplicity and not about brands. “There are certain items I spend my money on like bags but they are an investment so quality is important. But when it comes to clothes, I can wear anything that looks good on me, I even pick up stuff from Colaba Causeway if it works for me,” Alia smiles.

She admits she’s upped her style quotient since her debut in Student Of The Year and is putting more effort into her styling now. “I’m excited about trying new trends and having fun at occasions. I don’t like going down the obvious route and would rather keep things interesting,” she signs off.

Stereotyping of communities in Bollywood was more prevalent several decades ago than now
Lisa Antao (DNA; March 12, 2017)

Last month, the Supreme Court refused to pass any order on a writ petition seeking a ban on jokes on Sikhs by advocate Harvinder Choudhary. Choudhary argued that the Sikh community needed a “vigorous” law to protect themselves from being the butt of jokes and asked the court to prosecute websites that carry ‘Sardar jokes’. The court questioned, “Why should the Supreme Court issue guidelines on how people should conduct themselves when they hear jokes?” and also argued that even if any order is passed, it’s impossible to implement it, asking, “Even if we issue guidelines, who will control it?”

If counted as a crime, then Bollywood has long been guilty of portraying and in the process, propagating community stereotypes. Sardar jokes and the stereotype of the goofy dim-wit Sardarji are found aplenty in countless Bollywood movies. However, in Bollywood, it’s not only the Sikh community, but also many other communities, which have been stereotyped galore. For example, the loud over-the-top

Punjabis, all South Indians are shown as idli-dosa eating Madrasis, mad- hatter Parsis, alcohol-swigging and plunging neckline-wearing Catholics to serious, argumentative rasgolla-gulping Bengalis.

Stereotyping of communities in Bollywood was more prevalent several decades ago than now. However, Bollywood doesn’t seem to be entirely purged off it. In recent years, stereotyping of communities has been done in movies like Kal Ho Naa Ho (2013), Finding Fanny (2014), 2 States (2014), Shaandaar (2015). We won’t state the obvious by naming the communities, you can do the math! We asked trade experts for their take on the subject.

A purpose for stereotyping
Amul Vikas Mohan, Editor Super Cinema says that stereotypes in Bollywood have always been there and are not limited to communities. The reason for them being there is to cater to the larger Pan-India audiences, and that they work for the movies. He explains, “Stereotyping works and it’s the reason filmmakers connect with the masses. If it’s an inside joke, everyone won’t get it. It’s never the intention of a filmmaker to hurt a particular community. Certain jokes are made about mannerisms about a particular community. For example, besides being known to be cheap, Sindhis are also known to be loud, rich, flashy and wearing lots of gold. And in the movie Shandaar, director Vikas Bahl has shown this. It made sense because everyone knows this.”

No exclusive targeting
Film critic, Raja Sen adds that there is stereotyping of communities in Bollywood movies, there are various cultural biases that tilt towards the North, which are inevitable. “However, Bollywood being an equal opportunity offender, has stereotyped various communities be it Punjabis, Bengalis or South Indians across the country. It’s not like only a particular community is being targeted. It’s nothing personal and doesn’t need to be taken so seriously,” he says.


Taking offence at the drop of a hat
Amul points out that nowadays people get offended too easily. “If a villain from a movie belongs to a particular community, it doesn’t mean that everyone has begun hating that community. Targeting a particular community is not the motive here. If there aren’t stereotypical jokes in movies, it won’t be funny for the masses,” he says.

Sen says that stereotyping has been going on for a long time now in Bollywood. However, the bigger sin is making bad jokes in movies. Being unfunny is worse than being politically incorrect. “Today, people are taking offence for anything and everything and filing PILs. In that case, even we film critics should file PILs against filmmakers for making bad jokes, bad movies and incompetence. In this quest to please everyone, freedom of speech and creativity is being curbed,” he laments.

Purely for entertainment purposes
Akshaye Rathi, film exhibitor and distributor minces no words and opines that movies are made for entertainment and not for spreading social messages. “Let’s be absolutely clear that movies are not meant for education or to urge people to not to smoke, not to consume alcohol and so on. Movies are purely meant for entertainment. Take the example of displaying those ‘No Smoking’ health warnings before the screening of movies. Has anybody actually quit smoking because of those disclaimers?” he questions.

“Movies are a form of entertainment for the masses. It’s a route for escapism from reality. And let’s just leave it at that. Even these No Smoking health warnings is just tokenism. It has no impact on people. It’s unfair to microanalyse movies like that,” says Rathi. He goes on to cite examples of stereotyping of communities in movies like Kal Ho Naa Ho, of the Gujarati community and in Shandaar, of the Sindhi community in a light-hearted manner. He further adds, “In a comic scene, there’s a joke on a character and that character belongs to some community or the other. Nobody wishes to make a movie to target any community in a negative light. People need to take this with a pinch of salt! It’s entertainment after all!”

Need intelligent humour
Amul does acknowledge that filmmakers and the audience too, need to grow a sense of humour. “Having said that stereotyping does work in Bollywood, personally, I feel that it’s not the right way to go. Filmmakers today need to do away with stereotyping. They need to raise the standard of humour by cracking intelligent, smart, witty jokes,” he says, adding that today’s younger audience is into intelligent humour.

Rachana Dubey (BOMBAY TIMES; January 9, 2017)

Madhureeta Mukherjee (BOMBAY TIMES; November 20, 2016)

As the Navratri season nears, Falguni Pathak tells us how she still manages to keep her shows full paisa vasool
Mayank Shekhar (MID-DAY; September 25, 2016)

"You're 52, how long do you intend to crank up dandiya beats,” we ask the terribly shy, quiet Falguni Pathak. For once, she misses a beat herself. Her eyes survey her team — seated around us in a circular table at the Ambassador Hotel in Churchgate — strangely glued to our conversation, even clicking pictures of this interview. "I'm not 52. I’m 45," Falguni says. Oh, damn Wikipedia. "Aaj kal log Wikipedia pe kuch bhi dalte hain," her crew joins in. I agree.

To be fair, the slightly stout, short Falguni, in a black formal jacket, smart trousers, and a pendant around her neck, has looked the same for so long that it’s really hard to tell how old she could be — fit to be modelled as a timeless bobbing doll, with cropped hair (called 'boy-cut' back in the day), gentle smile — looking anywhere between 25 and 52.

This face dominates Mumbai’s imagination for a week-plus, once every year. Which makes Falguni far more of a seasonal worker than a single-crop farmer — she comes in during Navratri, blasts music with her back-up band Tathaiya, mints moolah over nine to 11 days (it’s 11 this year), and then, it seems, she disappears altogether. You hear nothing about her (album, soundtrack, concerts). Even her public appearances are limited, if not zero.

Starting October 1, it’d be that time of the year again that generates two customary pieces of news: young girls missing their periods (abortion rates shooting up); and thousands dressed in flashy ethnic clothes, holding sticks, matching steps, with Falguni leading the city’s biggest party that moves venue every other year. Pushpanjali Gardens in the predominantly Gujarati neighbourhood Borivili is Falguni’s haunt for 2016.

And she’s been packing garba grounds (anywhere between 15,000 to 25,000 people per night) since 1994, when she first sang at a Navratri gig in Khar, where she grew up. Her father didn’t approve of her career choice initially. “He’s no more, but he would be proud (of me),” Falguni says.

He would be. What makes Falguni practically number one, in the field of one? What’s so different about Navratri/garba music that sets her apart? Well, it is different all right. For a precious clue, consider that over the years, one of the most popular dandiya songs has been Paree hoon main, a kinda hip, indie-pop number by Suneeta Rao, who may well be remembered forever, thanks to Navratris alone.

Faguni discovered that unlikely song for dandiya: "Even before I’d started performing professionally for Navratri, someone from the audience had once come up back-stage with a cassette, asking me to try out the Side-B last song. At every performance since, I’ve played Paree hoon main. The groove is perfect for (dandiya) beats." Kai Po Che (2013), the well-researched film set in Gujarat, if you recall, had rightly placed the Suneeta Rao song in its garba scene. Another number from Kai Po Che soundtrack, Shubharambh, Falguni says, is ideal for dandiya as well.

The formula, as Falguni explains it, is quite simple: “The garba ‘theka’ (beat) has to be the same. It’s derived from the ‘dakla’ (damru) beats that play at temples in Gujarat. While the beats can’t change, the songs must. But whatever the song, (dance) step tootna nahin chahiye (tempo mustn’t break)."

Falguni’s challenge therefore is to sample all types of desi music to pick tracks that can be seamlessly aligned to the dandiya rhythm. She says, "Earlier I would attend garbas in villages in Gujarat, and source local CDs from there... Internet has made that process easier.” And given that her audience is also fairly cosmopolitan, "some of them travelling from different parts of India and the world to play garba,” she makes sure to include Punjabi, Marathi, even South Indian tracks. This is besides devotional songs she concentrates on. "Navratri, after all, is a religious festival,” she says. Even if entertainment is the point of it all.

Bollywood, one hears, dominates the charts. Speaking of which, Falguni says the Bollywood track that was a major dandiya success last year was Gulaabo from Shaandaar. And this year? "I’m still preparing the list. But an instrumental version of two songs from Sultan — 440 volt, which is in 6-8 beat, and Jag ghoomeya in 2-4 beat — should work."

Despite getting the pulse of her audience pat-on, Falguni’s business, as with Navratri in general, took a hit in 2000, when the state imposed the 10 pm deadline for use of loud speakers in public. The rule was modified in 2002 to allow for Navratri shows to carry on until midnight over weekends. Until these diktats, Navratri shows in Mumbai would continue all through the night — finishing around six in the morning. "I just have to compress the whole show into three-and-half hours now, ensuring that it’s still 'paisa vasool'," Falguni says.

Has that affected her income as well? The only confirmed figure for what she charges that I came across was Rs 1.6 crore for the 10-day gig. True? "Kaash (I wish),” Falguni smiles, elaborating that she could command that cheque if she performed outside Mumbai. As she did in Ankleshwar in Gujarat, during Navratri in 2010. "But what I charge includes (payments for) my 40 musicians, costumes, rehearsals, sound and light."

This is when one of her crewmembers butts in, "Too many IT raids happening, let’s not talk about money." At some point, another one exults, "Ho gaya!" He’s managed to change Falguni’s age on the wiki. Good.

Chunky Pandey talks about his much-awaited evil and ugly avatar
Sanyukta Iyer (MUMBAI MIRROR; September 1, 2016)

Madhureeta Mukherjee (BOMBAY TIMES; June 16, 2016)

Alia Bhatt on absorbing traits and experiences for her roles
Upala KBR (DNA; June 14, 2016)

Every time I meet Alia Bhatt, I see another side to her persona. She breezes into her airy, comfortable van, clad in a white cotton kurta, asking me whether I mind if she eats while doing the interview. She promptly tucks into curd-rice and answers all my questions readily (no discomfort here) with the aplomb of a seasoned star. She’s visited rural Punjab for the role of a migrant labourer to do research and expresses apprehensions about whether she has pulled it off, what makes her low, and tells us why she will never behave like a diva...

From someone who has led a pampered existence to a migrant labourer — what challenged you to accept a role like Udta Punjab?
The fact that it was probably so completely removed from what you could ever imagine me doing. That challenged me — the idea that maybe I can’t do a character like this because it was so different from what I have ever played. Producer Vikas Bahl and director Abhishek Chaubey wanted to cast me in the role, but they never thought I would be interested in playing this part. That’s why they didn’t come to me initially with the role. Shahid asked me to read the script and give my feedback as a friend. After I read it, I fell in love with it as it’s a fabulous film and fabulous role! It was only after I told Shahid that I was quite interested in playing this character, but nobody had approached me, that the director Abhishek Chaubey met me. I was shooting for Shaandaar at that time. He was shocked I had said yes. I told him, ‘I know it’s very different, but I am very cool about doing it. If you have any reservations, let me know’ (laughs).

What was the toughest thing to do in the role — going deglam or using cuss words?
The physicality of the role wasn’t the tough bit. The toughest part was that there was no reference of the character for me. I had no natural instinct to work with — like things I would improvise naturally... The way they look at you is different also, like a little deadpan expression in the eyes, mouth is kind of droopily open. I don’t know that. That’s not the kind of person I am. In Kapoor & Sons, even though I am not like Dia, at least I could relate to something in her. Here, there was nothing to relate to and that was the most difficult part. It was all created in my head because I have never been through situations like this. It’s been the most difficult role that I have ever played. I have never gone cold, hungry, sleepless… Or been in a situation where you don’t know what’s going to happen next in your life or your next meal is coming from or also that the opportunities in your life are so basic. For me, I had no reference, so it was all through Abhishek’s words, Sudip’s (Sharma) writing — everything that was written as per her character, I made myself a sketch in my head and performed accordingly. We can empathise but we can’t actually feel what they go through…

That’s how you drew out the persona of Pinky…
That’s not her name. I don’t know where that has come from. We are not revealing her name right now.

Did you have any apprehensions about whether you could pull it off at any point?
Yes definitely there were apprehensions. It’s a big risk which could backfire badly but if I don’t take that chance I am never going to find out whether I can do something like this or not. While shooting there weren’t any apprehensions, as I felt very prepared. I wasn’t doubting myself constantly. If I would have then my tone would have been a bit different. I would have reserved myself from doing certain things, or going all out on the character that she is. I am using abusive words. It’s stepping completely out of my comfort zone and also I am a victim of substance abuse, which can again put on a lot of pressure. But for me the character, apart from all the details of what she would do, came across to me as a fighter.

Are you also a fighter in real life?
Possibly… I don’t let circumstances get me down. The value of life will always be there. I think after I played this character my value for life and just the kind of life we have, has grown 10-fold. The kind of situations that these people live in, is like a whole other India and we are literally living in a bubble debating about whether progress is happening around us or not. I would say, definitely yes there has been progress. When I was doing research for this role, I discovered that these kids in Punjab had mobile phones and television.

Did you research for the role?
Yes, we visited a couple of villages on the outskirts of Chandigarh where these migrants live and I just spent some time with them. Basically, the Punjabi farmers out there are so wealthy that they decide to sit back and employ workers for their lands and usually these workers are from Bihar and UP. I went there to get a sense of their lifestyle, how they are and what I got from them is that there’s a sense of toughness and roughness that they have because they have roughed it out so much in their lives. Because nothing comes easy to them. I asked them questions and they were open to answering them — literally to a stranger, who’s coming into your house and asking you questions about your life. There were lots of girls there and a couple of guys.

Please continue...
The girls were beautiful, shy and petite, with kajal in their eyes. They just kept staring at us with intrigue and curiosity and yet they understood. But very restrained as they are not allowed to express themselves. While talking they would be hiding their mouths and smiling shyly. I asked the mother who heads the farming and plowing in the fields, why she didn’t send her daughters to school. She said, ‘Woh jayegi toh hamar kaam kaun karega?’ So actually when you look at it, we ask why don’t they support girl education etc. I’m fully there to support it but sometimes look at the circumstances. If the guys go out to earn their bread and butter, somebody has to help the mother at home as they can’t afford help like us. They didn’t know who I was. They knew only Kareena Kapoor and Shahid Kapoor. That was also interesting…

Was that deflating that they didn’t know you?
Not really. I am aware that I haven’t managed to reach so far. I have only done six films (laughs). One would imagine that I might have felt a bit upset about not being recognised, but I wasn’t.

You belong to the young generation. What do you think of taking drugs?
I understand that there’s a need to experience out of curiosity and to create a world of your own but fortunately, I never got into that because I had something to do. I had responsibilities and I started very young but when you are young and you don’t have anything to do and you are probably lost you do take the things that comfort you in a way. I am not sitting here and judging anybody who is consuming drugs. The point of the film is not to pass judgement but to show you the light that yes, it is actually a problem and we empathise with you. But eventually it’s all about the support system you have, the people in your life, who will guide you in a certain way and how strong you are as a person inside. I think people, who overcome drugs are far more stronger than people who take drugs. Udta Punjab is not just about drugs, but also substance abuse, including alcohol — random things which can even be available at the chemist but we don’t know about them. It’s a time which has become rampant not only in Punjab but all over the country and the world where drug consumption and substance abuse has become like the most normal thing as if it’s nothing. In the film, Shahid and I are the victims of substance abuse, Diljit and Kareena are more the voices of reason and the hope of curbing it. It is about four different lives and each character has their own personal journey.

In real life, when do you feel low?
I am a very sensitive person and anything and everything can make me feel very low — whether it is a fight with a very close friend, or when sometimes I feel people are looking at me in a certain way and not the way I want them to, a film not doing well, feeling overworked... Being an actor is a very lonely feeling as you are constantly going from place to place, from character to character. Like having a family on sets with regard to a film and then suddenly that family disappears and you have been so close to them. Emotionally, it’s a very draining experience. In a way, the relationships become superficial also because then you start feeling it’s all for the movie. It’s true that you meet a lot of new people and make a lot of friends, but then there’s also that flip side to it. We look all chirpy and happy but it’s not always like that most of the time. What doesn’t make me sad is when people laugh at my GK etc. It doesn’t affect me at all as I can laugh at myself. In fact, I am not unhappy at all about those jokes made post-KWK as I got an inordinate amount of attention then (laughs).

And how do you pull yourself out of your lows?
As I said, the support system is very important but I am one of those people who is a private person. So, though I may talk to my close friends, I won’t necessarily sit and talk to my family about everything. During my low times, I find great joy in working out, swimming, releasing those endorphins. Any kind of physical activity makes me happy but also watching a very nice film, a good day’s sleep, spending time with my friends and doing simple, basic things I used to do a lot before I became an actress makes me very happy. As celebs, we should have holidays, meet normal people and do those things that a celeb would not do like walk on the road, do dinner by yourself, etc.

Has it been tough to pull yourself out of any character and became Alia again?
It’s just happened once and it was with Highway. The reason was, because eventually my character Meera’s journey became my journey, Imtiaz was capturing me. It did take me a while to detach myself and come out of it completely. I was so lost that I took a couple of months to come out of it after the film wrapped up. I just felt, ‘Oh my God...’ As if a part of me was missing. It’s a very strange, weird feeling that few would understand… I became very close to the character. It may have seemed heavy and random to people, but at that time, I felt very lost. I may not have related to her at each level but I felt very close to the character. Eventually, her experience was my experience. I say that purposely because Highway was a huge turning point for me. It moulded me and changed me a lot as a person.

Both your parents are filmmakers. How much do you help them creatively or ask them for help for your roles?
There are moments when we seek advice, but it’s not like it’s a thing that happens in our family. We always are known to have our own thoughts and opinions. We are very individualistic. We have been brought up that way also. We have totally different opinions and you are not realising but in a way are picking up so many different personalities and thoughts every day which you can use. I was reading Meryl Streep’s Her Again: Becoming Meryl Streep which has an interesting quote about how she constantly observes different people and pick up random traits from each character to use for her characters in films. For an actor, that’s great, because I have three distinctive personas in my own house and I can draw upon them any time.

Your mother in her blog has written... “We (actors) are a tribe of people. We have the same insecurities, the same understanding of what it takes to be an actor, and the same greed for life, because it is life after all, that gives us the fodder for our craft.” Agree?
Yes. I agree completely, which is why I believe that even though I am an actor and we are working constantly as actors, we need to experience our lives simultaneously. If it becomes all about your work, you then become a version of yourself. If you are open to interacting with people, you flourish as a person. If I am like a wall not absorbing or receiving any thoughts and engaging with you, I won’t be able to open up my mind. But I have always been open to life, people, opportunities... In that way, I am like a chameleon, I absorb the qualities of the people I spend my time with. My sister knows if I am hanging out with like Karan (Johar) or my besties like Akansha and Kanchi.

Seeing such success at such a young age, how do you keep yourself grounded?
I give credit to the way that I have been brought up. To be rounded in a way… You do not see yourself as an immortal human being, you are as mortal as the next person. The minute I pigeonhole myself that I am a diva or celeb or star, I am creating a hierarchy in my life. It’s as if for no reason, I’m behaving like royalty...

But aren’t you the little princess?
No. I give myself enough love and appreciation and a pat on the back, but only when required and not unnecessarily. And I think eventually the people who can do that, are the ones who are grounded. It’s very easy to get sucked into the whirlpool of stardom and lose yourself, but you have to be open to admitting them. You have to be open to admitting your mistakes... Everybody loves themselves but nobody wants to admit they have made a mistake. But I have the ability to see an instinct, to see what is correct or not and that’s what keeps me grounded.

In her characteristic forthcoming style, Alia Bhatt talks about balancing mainstream with experimental cinema and making mistakes
Anirban Das (MID-DAY; June 3, 2016)

Alia Bhatt is shooting for a promo track for her upcoming film, Udta Punjab at a suburban restrobar when we meet her on a Thursday afternoon. Seated atop a dressing table of her vanity van, the actress is mulling over what to wear for the shoot. Excerpts from the interview:

A number of Bollywood actresses avoid essaying de-glam roles. Did you also think about it before considering your character in Udta Punjab?
I make choices based on my instincts. I do consult a few people before signing a film, but with this one I was pretty sure that I would be able to showcase my potential as an actor. So this de-glam character wasn’t an issue.

Is it destiny or a conscious effort to do both experimental and mainstream cinema?
If I had said no to a film like Udta Punjab after Shaandaar, filmmakers would have thought that I have closed doors for experimental movies. But the fact that I am excited about such films tells them that I am open to them. Of course there is destiny at play, but at the same time, I am conscious about films I want to be part of.

Shaandaar failed at the box office. And currently, if a film doesn’t do well, the brand value of the actors gets affected even if they have performed well. Is that one of the reasons why you maintain a balance between mainstream and experimental cinema?
I am doing mainstream cinema because I love doing such films. I am doing them because I want to, not because I have to.

Over the years, you must have rejected film offers. How difficult is it to say no to filmmakers in this phase of your career?
Firstly, I get upset when I like a script but can’t do it due to date constraints. Secondly, there’s nothing wrong in saying no to films. But you need to know how to go about it. In the past, I have made mistakes and regret not being sensitive while saying no to a film, but I know better now. It takes a while to say no because there is somebody who believes in the film more than you do.

Has it become more difficult for you to pick films because your brand value is at stake?
Of course, it has become harder now. Initially, I could afford to do things my own way since I was new to the industry. But now, makers show a lot more trust in me and with trust comes responsibility. However, I don’t overthink. I am aware of my position in the industry.

What’s your take on the Tanmay Bhat controversy?
It has been spoken about a lot, more than it needed to be spoken about. There are far more important issues that should be given importance.

Coming back to your upcoming film, the film is facing trouble with Censor Board...
I think people will only gain from watching this film. It is educational and also gives a perspective on how life should be lived. I will be really upset if the Board does not clear the final product for the audience.

Shahid Kapoor on his upcoming films and dealing with professional disappointments
Avinash Lohana (MUMBAI MIRROR; June 2, 2016)

While he features in Vishal Bhardwaj's ambitious Rangoon and Abhishek Chaubey's gritty Udta Punjab - two of the most talked about films of the year, Shahid Kapoor is gearing up to slip into another role, of that of a parent, with wife Mira Rajput this September.

The 35-year-old actor is clearly in a happy place. Currently promoting Chaubey's drug-drama, he recently wrapped up VB's next, which, he admits, was a tiring project. "I tell Vishal that he is my Martin Scorsese. He has given me some amazing opportunities. Rangoon is quite different from everything he and I have done in the past," says Shahid who plays an army officer in the Casablanca-like love story.

He is equally taken in by his rockstar act in Udta Punjab, for which he had to undergo intense physical training for three months to acquire the desired look. "When I read the script for the first time, it felt like the character leapt off the pages and punched me in the face. I need him to do the same to the audiences. For that, I needed a certain physique. We started out with tattoos - 14 of them - all handpicked. There is a story behind each one. Then, my character Tommy Singh needed to look larger-than-life even though he is a drug addict. So we worked towards an aggressive, depleted look," he explains.

According to reports, he and co-star Kareena Kapoor were really awkward around each other at the film's trailer launch recently. "If two people are standing on a stage and talking and some guy decides to say that they looked awkward, I can't help that kind of interpretation or over-analysis. I think we were fine. If somebody wants to find some masala to write about, God bless them," Shahid says shortly.

Udta Punjab recently ran into trouble with the Censor Board for its excessive use of swearing and portrayal of drug abuse. "We are hoping for the best. It's on course and not banned as is being reported," Shahid clarifies, adding that he hopes people will understand the larger message instead of focusing on "the minute things". "I am being optimistic. Haider got released. I felt extremely proud of our country and the fact that we can talk about issues," he asserts.

Shahid and missus Mira take on the role of first-time parents this September. The actor is understandably excited. "Right now, it's all about what's coming, the anticipation. I have been reading up on pregnancy and parenting on this really cool app that Mira downloaded for me," he smiles.

The grapevine has it that his kid brother, Ishaan Khattar, is gearing up for a Bollywood debut. Does he, as a big brother, dole out tips? "It's the other way round," Shahid reveals with a chuckle, adding that the 20-year-old is the responsible one between the two, and Shahid is often at the receiving end of the guidance.

Meanwhile, he refutes rumours of him doing Anees Bazmee's Aankhen 2 and Vikramaditya Motwane's Bhavesh Joshi and confirms that he won't be returning to judge season nine of Jhalak Dikhhla Jaa. "It's difficult to be critical of people. But it was a fun experience. Besides, I have too much going on this year," Shahid confides, adding that given the reach of the medium, he'd love to return if something exciting comes his way.

Speaking of difficult things, how did he cope with the failure of Shaandaar? He admits to being disappointed. "It's painful when something in which you've put a lot of yourself doesn't do well. There's a huge vaccum for a certain period of time. But then, I have had enough failures by now to be a pro at dealing with them," he signs off.

5 reasons why the Bhatt babe trumps Shraddha in the bikini face-off
DNA (March 29, 2016)


- Alia has a better bikini bod. So far, Alia has managed to stay ahead of the style curve and is not scared to take risks and that shows in the way she pulls off the bikini. Shraddha, on the other, doesn’t do justice to the swimsuit. Her bikini top looks more like a sports bra!

- While Alia struts her stuff on the sandy beach with aplomb, Shraddha seems to be apologising for her bikini look in the song by hiding her lower body in the water. It’s like she wasn’t too happy to don the swimsuit.

- Shraddha’s sarong lets her down. Who in their right mind wears a sarong inside water? Clearly Shraddha’s stylist should have told her to lose it. Don’t wear a bikini if you are going to attach ifs and buts to it.

- Alia seems more comfortable with her body language which effortlessly flirts with the camera. The confidence which Miss Bhatt exudes takes her look several notches up. On the other hand, the demure Miss Kapoor sort of lacks that level of confidence.

- Styling-wise, Alia nails the look with her beach-inspired hair, natural make-up and the fuchsia pink swimsuit which offsets her complexion. The blue swimsuit on Shraddha isn’t the most flattering pick.

The actor opens up on Udta Punjab, Rangoon, AK vs SK and the Magadheera remake…
Nayandeep Rakshit (DNA; January 12, 2016)


Shaandaar failed miserably. Did that hurt?
Everyone gets hurt if their films don’t work. We work hard to make a film and present it to the audience. It’s by us for them. And if they don’t like it, that’s the biggest loss. But I have learnt one thing in all these years from what I have done. That you should not lose out on opportunities because of your fears!

And what are they?
Fears are to repeat myself and to focus on the wrong things because the focus should not be result-oriented. The focus should be on the process because if you work in a result-oriented manner, in a profession that’s so unpredictable, you usually become frustrated, unhappy and blame other people for the failures that you go through. Again, when success comes your way, you start behaving like you’re the king of the world. It’s a wrong approach to life. Rather, if you enjoy what you’re doing, then regardless of the result, you would feel satisfied with the experiences that you had while making the movies that you made, the people that you connected with, the journeys that you took, the attempts you made.

It reflects in the line-up of films you have now.
Even now, when I’m doing an Udta Punjab or a Rangoon, people are skeptical about those films. Some have even come and told me, “Yeh kya kar raha hai tu?” I feel it’s okay, I will do these films because I believe in them.

Udta Punjab is a film no one was willing to take up. What made you sign it?
I felt really passionately about the role I had been offered in Udta Punjab and about the world that the filmmaker wanted to create. I felt this film needed to be made and that it should be made, so I said yes to that film.

How’s Rangoon shaping up?
Rangoon is a lot more commercial than Udta Punjab. There’s a lot of time to talk about it because for that, people need to understand the film and for that again, Vishal sir needs to talk about it. He always chooses different worlds and when everybody expects him to make a film similar to his last one, he makes and he changes it. So, Rangoon will be one of those surprises.

It seems to be yet another dark Vishal Bhardwaj film.
No. Rangoon isn’t a dark film because it’s a very scaled film and it needs to be very commercial, otherwise it will not be able to justify its budget.

There are rumours that Mira will make her acting debut in your next AK vs SK. Is that true?
I am loving all the stuff that I have been reading everywhere. I won’t tell you what’s true and what’s not. Aap log socho. Mira is my wife, she is not an actress.

Any update on the Magadheera remake?
I still have not heard the script and no, I haven’t signed the film yet. But if you are asking me whether I have been approached for the film, then yes, they have come to me. But I am yet to sit for a narration.

WAS 2015 A GREAT YEAR FOR BOLLYWOOD?

As the year comes to a close, it’s time to look back and ask – has 2015 been a great year for the industry? Sadly, the answer is no. With each passing year, the business should increase but that hasn’t happened in 2015 unfortunately. Only 6 films managed to cross the 100 crore mark – Tanu Weds Manu Returns, ABCD 2, Bajrangi Bhaijaan, Prem Ratan Dhan Payo, Dilwale and Bajirao Mastani. Not to forget, the collections of Dilwale have been below expectations thanks to a mixed response and suffering a clash with Bajirao Mastani. Baby and Gabbar Is Back were decent successes but surely deserved to do more. A lot was expected from films like Tevar, Shamitabh, Roy, Dil Dhadakne Do, Guddu Rangeela, Brothers, All Is Well, Phantom, Hero, Katti Batti, Singh Is Bliing, Jazbaa and Tamasha but these films failed to make a mark at the box office. 2015 also saw one of the biggest disasters ever in the form of Bombay Velvet. Shaandaar too bombed badly, sending shockwaves, more so for its poor content.

However, there were quite a few surprises that spread cheer. Dum Laga Ke Haisha came out of nowhere but succeeded big time. Tanu Weds Manu Returns was the best surprise of the year – it collected close to 150 crore net – something that the biggest of films starring the biggest of names failed to do. Piku started slow but picked up significantly. South Indian dubbed films have rarely done good business but Baahubali – The Beginning outperformed everywhere. Drishyam was an average grosser but trended very well. Welcome Back fell from second week but managed to rise above the negativity that was floating around during its release. 2 films – Kis Kisko Pyaar Karoon and Pyaar Ka Punchnama 2 – once again proved that low-budget-high-concept films can work wonders. Talvar became the first arthouse film to cross 30 crore mark.

From the business point of view, however, the film industry is in dire need of more hits and more blockbusters. And that can only happen when better films are made in a way that it can appeal to a wide range of audiences. Look at Bajirao Mastani. It’s a historical drama (perceived to be not a massy genre) and it clashed with the very massy Dilwale. Yet, it worked as it’s a nicely made product. Sadly, our industry doesn’t give too many nice films. Most of the times, the budget of the film is so skyhigh that recovery becomes a problem. A film like Drishyam for instance should have been made in 30 or max 40 crore instead of 60 crore. Spending 120 crore on Bombay Velvet was foolhardy especially when a similar period film – Detective Byomkesh Bakshy – with similar kind of sets – was made in less than 40 crore. Yes, there are other reasons too why the industry is suffering, like lack of theatres, piracy etc But sadly, that’s not in the hands of the industry. What they can do from their side is make good films in reasonable budgets and surely, it’s a move that will not go wrong for sure.

Here’s hoping better sense and films prevail in 2016!

Both actors desperately need hit films; trade experts believe that Ranbir will get lucky before Shahid does
Upala KBR (DNA; December 9, 2015)


Advantage Ranbir
Shahid’s next is Udta Punjab, which hits the screens in the first trimester of the year. The film is directed by Abhishek Chaubey, who has made two films before - Ishqiya and Dedh Ishqiya. While the first worked, the second didn’t. Ranbir’s next film is Jagaa Jasoos directed by Anurag Basu, whose last film Barfi! was a mega hit. Also, Basu is known to be a commercial filmmaker with hits like Murder, Gangster and Life In A Metro to his name.

The next release
In Anurag’s film, RK gets united with his real love interest and that is another plus. Even if Jagga Jasoos doesn’t release on June 3, as slated or doesn’t work, RK has Karan Johar’s Ae Dil Hai Mushkil just a few months later, in October. And KJo has a near 100 per cent hit record. The film is a love triangle between Kapoor, Anushka Sharma and Aishwarya Rai Bachchan. And love triangles have always worked in Hindi films. There is tremendous excitement about the new pair in this film. While Ranbir is shooting both films simultaneously, Shahid has Vishal Bhardwaj’s Rangoon. Vishal is known to make niche films that could go either way. Although Vishal’s films get huge critical acclaim, they don’t always work at the box-office. Rangoon, which has Kangana Ranaut playing the leading lady, is a love triangle (also featuring Saif Ali Khan) in a period setting, like Casablanca, set against the backdrop of World War II.

Looking back
Shahid received a lot of flak for his last film Shaandaar. A leading producer questions, “Did Shahid even hear the script before saying yes to it? He turns down so many films that one would have thought he puts more thought into the films he signs up for. Meanwhile, though Tamasha didn’t work at the box-office, it got great reviews.”

***** Trade speak *****

Shahid was never supposed to be a big star — Taran Adarsh
While Shahid appears to need a hit, Ranbir actually is desperately in need of a hit. Tamasha has not lived up to the expectations. Shahid was never supposed to be a big hero. Ranbir is the only competitor to the three Khans — the only one who could give them takkar. He did reach there with Ye Jawani Hai Diwani when it crossed  Rs 180 crore, but suddenly with three flops that fizzled out. But Ranbir is a brilliant actor — one of the finest we have today. He is a bigger star than Shahid. As far as their lineup of films are concerned everybody these days is doing selective films. Ranbir has an edge over Shahid. Though Rangoon with Vishal Bhardwaj is a big film, Ranbir’s next is with Karan Johar and that says it all. Besides, Karan is directing the film himself after a gap — it’s a very big deal.

Ranbir has all the qualities of a superstar — Vikas Mohan
Ranbir needs a hit more than Shahid today because he’s more popular and better-placed. He has a mass appeal and possesses all the qualities of a superstar. He is just waiting for his luck to change. A fine artist like him was a little disappointed with the BO performance of Tamasha, but he can reach the pinnacle. All he needs is a flash hit and he has a better chance than Shahid. Ranbir chose wrong films. You can’t compare their lineup of films. How can you compare Karan Johar with Vishal Bhardwaj? One is a born director (Karan) while the other is by circumstance. Karan is a director for the masses while Vishal makes dark, edgy, niche films. Karan’s Ae Dil Hai Mushkil (ADHM) will make Rs 100 crores whether it’s a hit or flop, while Vishal will take 100 years to make Rs 100 crore! He will make people laugh and cry… ADHM will be a super duper hit. Whether a film runs or not is immaterial. Ranbir is a sincere and dedicated actor. Whether his films work or not, he’s already arrived. Ranbir Kapoor is the only challenge to those superstars who are crossing 50. He’s not a superstar of tomorrow. It’s unfair to compare Ranbir with Shahid. Ranbir is a khandaani Kapoor. A few flops won’t change his destiny.

The promotional budgets of films seem to be getting bigger and bigger, adding extra stress on the market
Gaurav Dubey (MID-DAY; December 4, 2015)

Gone are the days when promotions and publicity of the film used to take up a small portion of the budget of the film. Thanks to the advent of social media perhaps, now P&A budgets are making for a bigger and bigger share in the budget pie. In a milieu of films releasing, the film makers' biggest concern remains how to get the attention of the cine goers. To get that attention and retain it, the makers are spending greater and greater amounts for publicity, thus making the stakes higher and higher for the film in the market. While we had one music launch not so long back, now every song is launched in separate glittering events before the actual launch. This, apart from the various promotional activities thought up by the production and PR team, thus pumping in more funds. While these promotions might or might not help a film, it definitely places a bigger risks for films, since it requires bigger returns for it to get even.

A liability
Says a source, “On an average, filmmakers spend anywhere between Rs 5 crore to Rs 20 crore to market films. Presently, an amount like Rs 5-6 crore is bare minimum for any flick to be noticed by the audience. Even if a project costs Rs 2 crore, the producers will have to shell out an additional Rs 5 crore, at least, to be able to spread the word about their film. Over time, marketing and promotions have become very aggressive and it goes without saying that if a filmmaker doesn’t put in money for extensive promotions, chances are that the film wouldn’t work at the box office.”

“It is also believed that a well-marketed film will result in building excitement around it and the audiences wouldn’t mind shelling out money to buy tickets,” adds the source.

Filmmakers Onir opines that nowadays, P&A have become a liability for producers. “Today, P&A has become a liability for both big-budget and small-budget films. Having to spend on media coverage to reach the audience is sad. But, it’s also true that content no longer guarantees media coverage.”

Content is king
Sandeep Singh, who has co-produced films such as Mary Kom and Goliyon Ki Raasleela Ram Leela, says that ultimately content of the film is the king. “Every aspect of filmmaking is important, but today, the industry folk believe in numbers and not in the art of filmmaking. For me, content is the king and a content driven film will do well despite moderate promotions as opposed to a film with weak content and aggressive promotions. Films like Dum Laga Ke Haisha and Shaandaar are biggest examples. The former went on to do well despite not being promoted a lot whereas Shaandaar’s feisty promotions did not translate into a good run at the box office,” he says.

“Also today there are numerous avenues to market a film and the team which handles promotions comes up with innovative ideas to do so. We as producers get attracted and invest the money. If the film ends up bombing at the box-office it is us who has to bear the brunt,” adds Singh.

Hansal Mehta seconds Singh’s opinion and believes that good content is all that matters, "P&A can never sell a poor product. Aggressive marketing might give you a great opening on Friday but the quality of the content decides box office success. This ridiculous spending is ruining the industry and if this doesn’t change, we are heading towards a financial disaster.”

Sachiin Joshi, who has co-produced Jazbaa, says that investing well in P&A can make or break a film. “People nowadays are busy in the lives. Therefore extensive promotions are the only way through which you can get them theatres,” he explains.

P&A budget of a few films
>> Dilwale - Rs 20-25cr
>> Bajirao Mastani - Rs 20-25cr
>> PRDP - Rs 28-32cr
>> Shaandaar - Rs 12-15cr
>> ABCD 2 - Rs 8-12cr
>> Drishyam - Rs 10-12
>> PKP 2 - Rs 8-10 cr
>> Katti Batti - Rs 10-12cr
>> Hero - Rs 10-12cr