In the post Covid-19 era, physical or emotional intimate scenes could be a no-go in Bollywood
Shreya Mukherjee and Sonil Dedhia (HINDUSTAN TIMES; May 18, 2020)

“Do phool takraayenge, aur hum samajh jaayenge,” quips actor-filmmaker Satish Kaushik as he conjectures how romantic and intimate scenes could rewind to the ’70s and ’80s in the post Coronavirus era. But on a serious note, considering how new rules of on-screen intimacy — emotional and physical — are being outlined across the world in these times of social distancing, “safety is more important than passionate scenes,” says Kaushik.

Filmmaker Shoojit Sircar had recently raised the topic about how the shooting of intimate scenarios in films will change after this pandemic.

And while actor Dia Mirza had a fitting reply, “Guru, the entire process of making a film is intimate!”, screenwriter-director Hitesh Kewalya says in a country like India, where we work shoulder-to-shoulder, “it’s difficult to maintain social distancing to begin with. It won’t be easy, but we’ve to find a way”, says the Shubh Mangal Zyada Saavdhan director.

Cinematographer Sudeep Chatterjee, who is working on Gangubai Kathiawadi, believes “physical and emotional intimate scenes can be managed” by putting the “actors, who’d be performing these scenes, in quarantine and monitoring their health before shooting, or with certain camera angles, and use of technology and visual effects”.

Actor Kunal Kemmu gives his perspective by saying since he has a two and half year old daughter at home, he would like to check into a hotel till a schedule is completed. “It would cut off the risk of my family being affected even if there are any chances. Obviously, there is no clarity as to when we will start shooting but production houses are deciding on certain norms keeping in mind the safety of everyone,” he says.

Though intimate scenes often become talking points and generate interest, trade expert Atul Mohan feels not many “actors would be ready to take the risk” of doing such scenes. “We’ll have to avoid shooting such scenes,” he adds.

Intimacy coordinator Amanda Cutting, who has worked on web series Mastram and also on an unaired prequel pilot for Game Of Thrones, says that protocols have already been put in place in Spain, Australia and Italy, and India could take a cue from them. “We’ll have to look at different options. Can intimacy be done without kissing? Absolutely. An intimate moment can be two people making eye-contact or a hand touching another hand which tells a passionate love story,” she says.

Action director Sham Kaushal says that change is the law of the nature and a lot of things are going to be different when it comes to how we approach the shoots now. “We’ll have to reinvent our working style and be cautious. Also, the technology is so advanced. We can take help of VFX to show a few things.”

Censor board member and writer Mihir Bhuta says regulations from the World Health Organisation and the Ministry of Health, in this regard are awaited. Bhuta, who is avoiding adding group scenes in his projects, adds, “Physical intimate scenes involves two people at a time. That can be done by getting them tested and quarantining them. But that’d be difficult for over 25 people on the set.”

Upcoming schedule of an international film was cancelled, crew asked to return home
Avinash Lohana (MUMBAI MIRROR; March 14, 2020)

Veteran action director Sham Kaushal had flown to Dhaka on March 10 to begin work on an international film, titled The Battle For Bengal. Four days before the production was to roll, the makers have postponed the shoot because of the coronavirus scare.

Speaking to Mirror from a Dhaka airport, Kaushal said the film’s crew was instructed to go back to their home countries as soon as possible. “The film is being made by an LA-based producer with the support of the Bangladesh government. The crew, including the London-based director Richie Mehta and Fast & Furious cinematographer Amir Mokri, were in Dhaka too. We were returning from a recce in Chattogram (a city 40-minute plane ride away from Dhaka), when we were informed about the cancellation,” he said.

The stunt master went on to share that he managed to secure a return ticket for himself and his assistants with great difficulty, while the Bangladesh government arranged for a chartered flight to bring the rest of the Indian crew members to Kolkata. “I would urge people to avoid travel unless absolutely necessary,” Kaushal said, adding that his son, Vicky, was in touch with him all through the journey.

Charting his own career away from the shadow of his famous brother, Sunny Kaushal discusses his biggest project to date and the challenge of comparison
Letty Mariam Abraham (MID-DAY; January 21, 2020)

It's a homecoming of sorts for Sunny Kaushal, who kicked off his career with the web series Chukiyagiri before being big-screen bound. He will soon be seen in Kabir Khan's ambitious digital offering, The Forgotten Army, on Amazon Prime. A man of few words, the actor discusses why a film wouldn't do justice to the subject and the dilemmas of being compared to actor-brother Vicky Kaushal.

Edited excerpts from the interview.

What was your brief for The Forgotten Army?
I had to portray a real-life character. Kabir [Khan, director] had made a documentary 20 years ago, which became the backbone of the research for this series. I watched it on YouTube, which helped. While the show revolves around Azad Hind Fauj, it is an interpersonal story about the characters. There was nothing larger than life about them.

Considering the series also focuses on the love story between Col. Gurbaksh Singh Dhillon and Captain Lakshmi Sehgal, how much of it is fictionalised?
The chapters [and events] that you see are exactly how it happened. The only fictional part is that it is a story told from the perspective of Maya [Sharvari's character] and Surinder Sodhi [his part]. Sodhi is the amalgamation of several [real-life] characters. Similarly, Lakshmi Sehgal and Jaanki Thevar's characters were amalgamated for Sharvari's Maya.

Did you do any research as prep for the historical drama?
Kabir sir did extensive research on the subject and that was enough for us. I remember asking him about Dhillon saab because he lived with him for several days. Kabir sir knew about their bungalow in Kolkata and what their child was named — these are personal stories that you can't find on the Internet.

Do you think a theatrical release would do more justice to a subject like The Forgotten Army?
I think the subject needed a long format. If it had to be made into a film, it would have to be made into three parts because it is such a vast story. You cannot contain it in a two-and-a-half hour film, which is why Kabir sir chose to make it a web series.

At the start of your career, your father Sham Kaushal stated that he will not build inroads into Bollywood for you. Your take?
My father is a self-made man. [Similarly] once I decided to become an actor, I gave auditions and did everything required to realise my dream. [I put in] years of struggle and hard work. It's the same for anyone in any other field. There is nothing extraordinary.

Are you bothered by comparisons with Vicky?
Not at all, but it irks me when someone asks me what [acting] tips he gave me. I recently finished promoting Bhangra Paa Le, and I used to be asked the same question every day. In this profession, you cannot sustain on a tip; you need to have your own opinion. I feel proud when I am compared to him because he has reached a stage where he is considered the benchmark.

Bhangra Paa Le actor Sunny Kaushal discusses his five-month prep to ace dance form
Sonia Lulla (MID-DAY; December 29, 2019)

The finesse with which Sunny Kaushal pulls of the Bhangra sequences in Peg Sheg is testimony that the makers of Bhangra Paa Le were unwilling to depict the dance form as frivolously as it has been done in cinema, so far. "Before rolling, we trained in dance for five months, and rehearsed for four hours a day. As a leader of my [dance] troupe in the film, I had to [pay attention] to the technique. Bhangra has a lot of it. Also, it must be pulled off with grace and energy, and look like a fun form of dance," says Kaushal, who, apart from learning the authentic style, had to also learn its various iterations to do justice to the storyline.

"Our film has two storylines, one is set in the '40s, and the other, in present day. So, we had to learn the original form for the first part, and the fusion version for the second. Our choreographers, Adil Shaikh and Vijay Ganguly taught us the sequences for the 10 songs in the film. Given that we couldn't [learn it all] during the shoot, we had to learn the techniques before we rolled."

Even as his actor-brother Vicky Kaushal—who took home the National Award days ago—has been going from strength-to-strength with each film, Sunny doesn't seek his advice. "Since we were kids, we have been independent. We have different personalities, and our approach to things also varies. He has made a mark quickly, and has done so with his own choices. I'd like to do it on my own [too]. If we need advice, on a script, or otherwise, we'll go to our father [Sham Kaushal, action director]; his experience is unparalleled."

After stuntman gets injured during Good Newwz song launch rehearsal in Chandigarh, Akshay Kumar-Karan Johar arrange air ambulance to rush him to Mumbai hospital
Mohar Basu (MID-DAY; November 30, 2019)

Having earned his place in the industry initially due to his action image, Akshay Kumar has often put the spotlight on the real behind-the-scenes heroes — the stunt performers. Two years after he launched an insurance scheme for them, the superstar again rushed to the aid of two stunt artistes who were recently injured. mid-day has it that Bittoo and Hari Singh, members of senior action director Sham Kaushal's team, were hurt during the rehearsals for a song launch of Good Newwz in Chandigarh. Though Kumar was not present at the scene, the actor — with the aid of the film's producer Karan Johar — arranged for an air ambulance to fly one of them down to Mumbai for necessary medical treatment.

Recounting the accident that occurred in the wee hours of Wednesday, Kaushal says, "I sent three members of my team for the rehearsal. It was important to check if the wire work was smooth and performing the stunt was a safe proposition. As part of the stunt, Bittoo and Hari Singh were attached to the winch machine and were performing [stunts mid-air]. But during the second round of rehearsals, the machine collapsed due to a technical malfunction and the boys had a freefall from a height of nearly 10-12 feet."

When the production team rushed the two men to the nearest hospital, it was discovered that Bittoo had suffered shock to the spine. "Hari, who hails from Chandigarh, was discharged the next day." When word of Bittoo's injury reached Kumar, he made arrangements for him to be brought to Mumbai so that he could avail the best medical care. "Akshay paaji was at a shoot in Hyderabad, but was keeping a constant check on the boys. On Friday, he and Karan's team arranged for an air ambulance so that Bittoo could be flown down to Mumbai. Now, he has been advised two months of bed rest," says Kaushal, adding that it was graceful of Kumar and Johar to stand by them in their hour of need.

Vicky Kaushal in conversation with Mayank Shekhar at the latest edition of Sit With Hitlist, at the mid-day office Pics/ Nimesh Dave

Vicky Kaushal reveals the story behind his evolution from indie cinema's poster boy to Bollywood's current heartthrob on a full-on dream run
Mayank Shekhar (MID-DAY; September 6, 2019)

Here's The One Question We Will Not Ask You: How's The Josh? How's The Josh… Aren't You Frickin' Tired Of Hearing It [My Ears Hurt]?
[Laughs] I don't think I'll ever be tired of this question. This line has given to me and my family something very special. Although, have to say, I had reached a point, where I could just get up in the middle of my sleep, hear it, and go, "High Sir!" [laughs]

In Box-Office Terms, Uri Really Made You A Superstar. And It Was Your First Action Film. This Is Not Ironic. Because Your Father, After All, Is An Action Director. And That Would've Shaped Your Relationship With Films Too, In The First Place; No?
To be honest, I was craving an action film. Which, as an audience, I really enjoy watching. And not in the sense over-the-top action. I wanted to do something realistic. For me, a good action film is what Aamir Khan did with Ghulam [1998]. Or, say, Black Friday [2007]. My favourite piece of my dad's work is his first film [as action director] Prahaar [1991]. That's my space, where action is a scene — part of the narrative.

How Did You Land Uri [Given The Unlikely CV]?
[Director] Aditya [Dhar] was going to make a film called Raat Baaki Hai, with [Pakistani star] Fawad [Khan], and Katrina [Kaif], where I had a character that I couldn't do, because of date-issues. That film itself got shelved 20 days before shoot, because of the [Pathankot] attacks. Now, I was shooting interior portions of Raazi in Mira Road. It was an emotional scene, when I learn of Alia's [Bhatt] truth. We canned good stuff, and it had been a hectic day.

Driving back, I got a call from Ronnie Screwvala's office that they had dropped off an action script [to be directed by Aditya, who I already knew]. I saw the title, Uri: The Surgical Strike. And now I wasn't the actor. I was actually curious to know what happened [in Uri]. It took me four-and-a-half hours to read the script, in one go, which is what I prefer — as if I'm watching a film. That's when I get a true sense of what I feel.

As An Audience?
Yes. So I started watching the film, and I just couldn't get it. There was just too much information, military-technical-logistical language. Also, I didn't feel anything. Because I hadn't taken four-and-a-half hours to read a script before. So I went off to shoot the next day. When I returned, my dad, who was equally curious about the Uri incident, and had read the script lying around, asked me what I thought of it. I said I'm not sure. He told me that if I miss this film, it'll be the biggest mistake of my life! He said that maybe I'm in a different space right now, in another kind of military film, and that's why unable to connect.

You Were Playing A Pak Military Officer, Shooting For Raazi. Of Course You're Not Going To Like Uri!
[Laughs] And then I don't know what happened. I got back to the script four days later, finished it in an hour-and-a-half, as if I was reading it for the first time. I called up Sonia [Screwvala's associate] at 3 am, and said, I will do the film.



You Essentially Have Your Dad To Thank For Uri. What I Find Most Fascinating Is Actually Your Dad [Sham Kaushal]! Tell Us His [Lesser Known] Story.
My dad and mom are from a small village in Punjab. He was good in studies, and started learning English in sixth grade. He went on to top BA, in English Literature; did his MA. And wanted to be an English professor in Punjab. But the family's financial situation was such that he could not pursue an M.Phil from Chandigarh.

At 23, he was frustrated, with no job, even after an MA degree. My dadaji [grandfather] had a very small kiraane ki dukaan [convenience store] in the village. My dad's friend Satpal was going to Bombay to become an actor. Since my dad was doing nothing at home, and frustrated, my grandfather asked him to tag along with the friend, for a few days, feel better, and come back.

In Bombay, my dad wanted to start a new life. He had a distant uncle in New Bombay, who got him a salesman's job in a plumbing-wall shop, behind RK Studios, in Chembur. He did that for Rs 350 a month, and really struggled. He's been on streets. Without letting anybody know, he used to live in the office, having done a 'setting' with the peon. He would sleep, leave early; and come back, when work started.

He Would Take A Shower In Office?
Yeah, everything. After a year, he knew he couldn't start a family with Rs 350 a month, even if he did the same thing for 15 to 30 years. So, without Plan B, he quits his job, and comes to a PG [paying-guest accommodation] in Santacruz. Here, he stays with 10 Punjabi guys, who're stuntmen. They leave for work in the morning, and come back with a tidy sum in the evening. That's when he discovers this [profession]. Purely for survival, he decides to become a stuntman, at 25. People start training at 13-15, when their body is flexible. He had never done any physical activity before. He used to sit in his father's shop, and do accounts.

So he is a stuntman for 10 years. He lands up his first film as action director with Mohanlal, because the Malayalam filmmakers were shooting in Bombay. They needed someone to handle the stunt sequences. They would've been okay with an experienced stuntman as well. So long as the person understood English, so they could communicate with him. My father was the only guy around who knew English. He got that job because of his degree in English Literature!

Amazing!
That was his lesson to me. That it doesn't matter what you're learning. I've done engineering. He said, "It doesn't matter if the circuits you're working on is going to help you in acting, or not. But your hard work, and giving your best to your 'now', will help you eventually!" But, yeah. It's been his, and my mom's journey.

You've Also Been Part Of The Journey. Did You Get To Observe Showbiz Closely As A Result?
No. Well, my brother Sunny and I knew that the good things we were getting in life was because of a lot of dad's hardships, and my mom's support to him. But it was never a house, where we wanted to meet our favourite stars, go on sets, parties, etc. We had friends line up outside our house, for an autograph of an actor who was visiting. For us, that actor was my dad's friend.

For example, Anurag [Kashyap] sir and I always have a laugh about this. He knows me since Black Friday [in which my dad was action director]. I was probably in my eighth grade. So when he used to come over for meetings, I used to call him uncle, serve him parathas, and go out to play cricket. So it was that.

But As An Aspiring Actor Later, Did You Observe Or Notice How Deeply Hierarchical Showbiz Is. It Is Perhaps The Most Capitalistic Of All Arts.
Well, it is changing now.



Of Course, But Did It Bother You, As In A System Where A Star Takes All, Or That You Would Have To Become One [In Order To Succeed]?
Not at all. To be honest, I don't know why, but I never had a sense [of entitlement] that I should be launched as a star. I knew I could make a mark by knowing my job — just going through the drill, and getting opportunities on the basis of what I know. Also, my father had made it clear that he would back my decision to be an actor, as a father alone. And not as an action director.

So I had that reality-check — that nobody is going to spend crores, because I'm Sham Kaushal's son. And he's not going to do it either. Besides, for whatever reasons, whether some sort of complex, or plain under-confidence, my dream wasn't so big — that I want to be a hero. I was just on auto-pilot — that I'll give auditions, learn the craft through theatre, be an AD [assistant director]...

You Did A Lot Of Theatre?
I did. But I started off as an intern to Anurag Kashyap on Gangs Of Wasseypur [Gangs]. I also started reading scripts that my dad would get, to match with the final film, and see changes that an actor brought in. I could visit sets with him. But realised I'd then just be a visitor. My knowledge of engineering is so bookish that I can't even repair a TV. I wanted to be an engineer, who has been at the garage for four years. So I decided to dive into acting, with on-field learning.

Was It Paid Internship?
No. Unpaid.

I Just Don't Understand Why Are So Many Movie Internships Unpaid?
[Laughs] But the payment I wanted, I got. It was not for the money, it was for the learning, and I really got paid well. Through actors on set, I got to know the importance of theatre. I'd been active on stage since school, but feared it professionally. I started doing theatre with Manav Kaul, Kumud Mishra, Naseer saab [Naseeruddin Shah], Thespo Festival, and Rage Productions — my first pay-cheque. I joined Kishore Namit Kapoor's acting academy. I also had to clean my slate, after being an assistant-director, because I wasn't looking at that profession. I completely cut off from Anurag sir.

But He Made You Act In Gangs, Though!
It's the scene where Nagma Khatoon [Richa Chadha] goes to a brothel. Last minute, everyone [junior artistes] that we'd rounded up in Benares refused to participate in that scene, once they realised it's a brothel. The entire direction team stood-in for them. I'm that silhouette you see behind the window-grille, overacting karte hue, when Naghma Khatoon is cursing Sardar Khan [Manoj Bajpayee]! That was the first time I faced a camera.



Oh, I'm Told Your First Time Before Camera Was For [Director] Michael Winterbottom?
Yes, that was the first time I faced the camera, and you could see my face! Michael Winterbottom was making a film called Trishna, with Freida Pinto. We'd just finished shooting Gangs in March, 2011, and I had these braces, and was an AD. I had gone to my native place in Punjab with family, when I got a call from Anurag Kashyap, and he said, "Item number karega (Will you do an item number)?" I was like, what? He said, it's a Michael Winterbottom film, and Huma [Qureshi] and I will dance, and that he's acting in it as well, it'll be fun.

So, Trishna, that's Freida's character in the film, comes to Bombay from Rajasthan, and a friend of hers takes her to a film-set. There's a song being shot with choreographer Ganesh Acharya, which is being picturised between and Huma and I [in the film, within the film]. That song was also supposed to be the promotional track for the film, like [Slumdog Millionaire's] Jai Ho! But the film never released [in India].

So It Was Supposed To Be Taken Seriously.
Yeah. It was a proper song. But in the film, it's a scene. I was wearing this shimmery black, typically item-number costume, which I was very conscious of. I had no idea how it feels to be before a camera, with 50 back-up dancers, and 200 people around. So, my body is dancing, but my face is like this [frozen]. Ganesh Acharya sir, who was very sweet, came up to me and said, "You're dancing well. Now just dance from your face!" Of course, with several retakes, we got it right.

This Is Before You Began Your Daily Grind Of Auditioning For Parts. Was There Any Role That You Made It To The Top Three Or Four Of, And That We May Remember From Screen?
Not lead parts. But my first audition, in fact, was for the friend's role in Bhaag Milkha Bhaag [2013], which got heavily edited out eventually. In that audition, I realised that I don't know anything about acting. Then there was a part in the film Ghanchakkar [2013]. Namit Das did that role, finally. I still remember, the character's name was Idris. That was a great role.

Masaan Was Your First Release. But Zubaan, Which Picked Up Top Festival Awards, Was Actually Your First Film. Honestly, Couldn't Understand That Movie. Should One Go Back And Watch It Again?
I don't feel an audience should change the way they should watch a film. If you can't connect, you can't. It really resonated with me — a Punjabi from Gurdaspur, going to a big city, living that life, eventually realising it's not him; and now he has to connect back to his roots, and music becomes his medium. There was a lot for me to do as an actor — the journey, plus that stammering, plus music… If I feel connected to a material, for any reason, I just plunge into it. I don't think if it's going to do any good. I went through several rounds of auditions, from a short-list of around 200-300 actors, for that role.



Even Masaan, For That Matter, I'm Told, You'd Seen The Pilot Promo Of That Film With Other Actors Already. Who Were The Other People Doing That Film Then?
I remember [director] Neeraj [Ghaywan] and I, with the entire AD team of Gangs of Wasseypur, were going to Pune. Because a friend had lost someone in her family. We were in the same car, catching up after long. He was telling me about a film he was trying to make, with a very complex title, Raand Saandh Seedhi Sanyaasi.

Are You Serious?
Yeah, I had the same reaction. He showed me the pilot-promo. It looked very interesting, and he gave me the gist. The cast was Rajkummar Rao for the part I [eventually] played, when the film became Masaan. There was Manoj Bajpayee for the part played by Sanjay Mishra ji, and Richa [Chadha], and Shweta [Tripathi]. That was the promo.

The film had to be shot in October during Durga Puja [for the song Tu Kisi Rail Si]. If they missed the deadline, they'd have to shoot the following year, which they couldn't afford. Raj couldn't make it during the time, so that slot became open. They were looking for new actors. So they auditioned me, and I passed!

That Was A Breakout Role. You Owe Your Career To Rajkummar Rao!
[Laughs] Yes. In fact, my first few films, even Zubaan or Raman Raghav [2015], had gone to somebody else, and then they started auditioning again. And let's just look at the continuing dream-run since — Love Per Square Foot, Lust Stories, Raazi, Sanju, Uri… That's crazy! It is a very surreal kind of a run that I've had, especially over the past year-and-a-half... It really does feel special, that it happened. People recognise you. Doors started opening in the industry. And I can meet the directors I want to.

Speaking Of Directors, You've Worked With Anurag Kashyap As An Intern [Gangs], Then Actor [Raman Raghav, Manmarziyaan], He Also Produced Masaan. He's Notorious For Throwing Actors Into The Deep-End, No Script, Etc. How Did That Work For You, Starting Off?
He's a very impromptu kind of a creative force, relying on impulse. If you give him everything ready on paper, then he might not know what to do on a set. He does give you the lines. He just doesn't want actors to be rigid, when it comes to them. So he wants you to enter knowing what your character is. And then allow him, the geography, and the costumes to mould you.

Give An Example?
Sometimes, we may not have the lines beforehand. For example, my last scene in Manmarziyaan. It's the separation scene between Taapsee and I, in her room. We were ready in costume. He had told the DOP [cinematographer] to keep the tracking-shot ready. And he is with his pen and paper, writing the scene, while we're in costume. He gives us the lines, and we have five to ten minutes to prepare.
I had to hug Taapsee. It is an emotional moment. My character has accepted the fact that he's not the guy in her life. He hugs her. And once a scene is over, as per the script, for the next ten to fifteen seconds, Anurag sir has a tendency to not say cut.



He Will Just Keep The Camera Rolling?
Yeah, while the actors are thinking, what do I do next? I still remember, it was my OS [over-the-shoulder] shot. I have hugged Taapsee. The moment is done. And done. And done... But I still can't hear, cut! Then I see Anurag Kashyap sitting right next to that camera, looking at me, going, "Alag ho jaa, alag ho jaa [separate]." So in that emotional, teared-up state, I don't know what to do. She [Taapsee] doesn't know what to do either. And then, I just start beat boxing. That makes Taapsee smile. And that makes me smile. And then, he says cut. That is the moment, and the scene in the film. Not the one he had written.

Is Rajkumar Hirani The Methodically Prepared, Polar-Opposite?
He is as organic. The difference between them lies in the writing, and structuring of the film. And their ways of presenting a story. As directors, they are both fine editors. They can see the film while shooting it, and so they are super-fast — no safety-shots, no safety-cuts.

I've seen on Sanju, Raju sir has called for a steady-cam operator on set for a specific shot and moment. It's a full night's shoot anyway. While shooting the scene, he captured that moment on a static camera. He was so sure that he had got the shot, that he just told the steady-cam operator to pack-up.

And Sanju Was A Huge Film For You, Too. Incredible Love And Fame. What About The Flip Side Of It — Public Scrutiny? That You Could Be At A House-Party Chilling, And Some Politician In Punjab Could Say That You're Drugged Out, When You're Having Warm Water, Recovering From Dengue? How Do You Respond To That? I'm Talking About The Karan Johar House-Party Video, Of Course.
It was a very chilled-out party. That video is put out. And right after, I am in the hills in Arunachal Pradesh, with the Army, for three-four days, where there is no network. Obviously I don't know. And I have no clue that I've become the 'charsi of the country'! I come back to Bombay, and my mom and dad know everything. They have been watching the news. They didn't tell me before, because I would get affected, sitting there [in Arunachal]. So I head to my room. Before going off to sleep, I get on Twitter, and then I'm like, "Hain? FIR! Yeh kya hua?" I'm looking at those videos circling, white thing, and light falling on the floor...

They Assumed It Was Cocaine!
So I rushed out of my room to check if my mom and dad knew about this. And then they just gave a smile, and said, don't worry. I was, like, okay, as long as they know, I'm sorted. Then the next day it started affecting me again, with TV channels circling my face in red!

I thought I should come out and speak, but realised that would be an impulsive response. That is as impulsive as them factualising an assumption, which doesn't make sense. Also, what happens on a social-media trial is this: It starts from, 'They look drunk!' Then it becomes, 'Oh, they do look drunk.' And then it becomes, 'These are actors, they are drunk!' Then it's, 'How dare they?' 'Shame on them, they're drunk!' You don't know who to answer. But there are also 10 people asking others, "Kuch toh dimaag lagao, kya bole jaa rahe ho! [What're you saying?]" So I had a choice to listen. Or react to much bigger things happening in the country than this.

Let's Look At The Brighter Side Of Fame Though. You Went To An Engineering College, Where There Are Hardly Any Females, Let Alone Female-Attention. Do Your Classmates Hate Your Guts Now That You're The Heartthrob, As It Were?
In an engineering college, whatever number of girls that there are; by the fourth year, even they become like boys!

Think You're Now Going To Be Trolled By Engineering Students.
I'm sure engineering students listening to us would completely agree with me [laughs]. But, yeah, the heartthrob element also takes me by surprise a bit. I think it is a very pleasant feeling. It's got a lot to do with the characters I've played, and that they've resonated.

It's not like I'm the handsomest man ever. There are much sexier men, with better physique and charisma. The difference is that my work has resonated with the audience, so there's relatability with this guy, on screen — that's the edge. Tomorrow there'll be another one, whose works will resonate, and he'll become the heartthrob. I'm not the first or last such. It is part and parcel.



And Of Course, Then The Question [The 'Resonated Female Audience'] Wants To Ask Then Is: Are You Single?
I am.

(Audience) Can You Tell Us About The Craziest Fan-Experience You've Had So Far?
[Long pause] Someone just landed up in my house, straight up to my apartment. There were mom and dad at home; I wasn't. The girl just rang the bell. There is building-intercom, and watchman. But my mom somehow thought, maybe some friend of mine was expected, and I may have forgotten to tell her about it. So the girl comes in. She is like, "Vicky had called me to his house. We chatted on Facebook."

Now, at least, my mom and dad know that I don't use Facebook. They figured there's something fishy. What had happened was that there was a fake-profile of mine on Facebook, with whom the girl had been chatting. And that's a bit scary. So I had to really look into my social media accounts, pull down all [fake] pages, and do one verified account. She found it very difficult to believe that it wasn't me that she had been talking to, all along. Apart from that incident, the experiences have all been sweet.

Madhureeta Mukherjee (BOMBAY TIMES; August 18, 2019)

Remember the classic Aesop’s fable of the Hare and the Tortoise? Where the overconfident and speedy Hare is assured about beating the slow and steady Tortoise in the race. That lesson is more about life, than a race. Actor Vicky Kaushal’s career is a page out of that story. One step at a time. Speed in check. Focus sharp. All engines fired and enough fuel saved to keep pace in the game. And there, seven films and four years later, this powerhouse of talent proudly walks away with the National Award. With his josh at an all-time high, the actor talks to us about his challenging journey, what drives him and how he plans to keep himself charged for the long race ahead. Read on…

Over the past two years, your career has witnessed several landmark achievements — successful films (Raazi and Sanju in 2018), critical acclaim and to top it all, a National Award (Best Actor) for Uri: The Surgical Strike (2019). Has it sunk in, yet?
Sometimes I feel that it has, but then, I get that rush all over again. Kabhi aisa hota hai ki you realise the intensity of a certain happiness after seeing the reaction of others. Just when I think that it has sunk in, I go home and see my parents so full of joy and pride, and it’s a rush all over again. It feels like abhi announcement hua hai. I feel blessed that I got this opportunity to give immense happiness to my parents (action director Sham Kaushal and Veena Kaushal). They came to Mumbai from a small village in Punjab, and they have seen real struggles in life. Sunny (brother) and I were lucky to enjoy the luxuries that they provided us with. Hence, I know how they are feeling right now. I guess, at some point, everyone who is part of films thinks kaash kabhi aisa kuch ho jaaye (like winning a National Award), and for that to happen to me within four years of my career in movies, is too much to fathom.

Your climb was slow, but steady. It wasn’t overnight success or stardom. So, when so much happened suddenly in the last one year, was it overwhelming?
I feel like I have climbed every step of the ladder. I started from scratch, from not knowing how to go about auditions, to getting smaller opportunities, doing theatre, landing my first film, and now this recognition — it was a tough, but interesting journey. After I got my engineering degree in 2009, I was sure that I wanted to be an actor.

However, I was in no hurry because I was clear that I wanted to understand filmmaking and know about all that unfolds behind the camera. The one thing I knew was that this wasn’t a trial and error process for me. Initially, even figuring out where auditions (for ads) were happening was tough, and when I reached there, I would find 400-500 people ahead of me. The first battle was how to be among the first ten, at least. As far as film auditions are concerned, by the time you come to know of them, the casting is mostly done.

Finally, in 2015, Zubaan (directed by Mozez Singh) came my way, and it was the first film I cracked as a protagonist at the audition level. Then Masaan happened the same year (but it released before Zubaan). At that point in my life, when I was struggling to crack it, I would wonder what’s lacking in me, little did I know that God has better plans for me.

Will winning the National Award change the way you view your career, choice of films and your overall perspective on how you see yourself steering the way ahead?
I think this is not the time for me to look around and see whether I am standing at the top, bottom or in the middle of the ladder. Instead, what I need to do is remember why I started this journey in the first place, and keep going on. I can’t take anything for granted. Now, I have to be more grounded and focused than ever before.

What would you say was the turning point for you?
Well, so many moments felt like a turning point. Starting from the point when I went to a multinational company (as part of an industrial visit while studying engineering) and realising that the corporate world is not for me. I knew for sure that I wouldn’t fit in there and I didn’t contemplate it for a single day. Bagging Zubaan, my first film, was a turning point. The kind of appreciation Masaan got, gave me tremendous confidence. Last year, Raazi, Manmarziyaan and Sanju collectively helped me reach out to a wider audience. Uri is certainly a defining film of my career. It gave me a hero-wala image in the eyes of the people, in the sense that, I was the solo lead. People knew that I was an actor, but that film gave people a perception that I can be a hero. Also, I always say that a star never makes a film, a film makes an actor a star. Uri did that for me. I will always say that what the Indian Army has given my family and me, I can’t express it in words. My father’s first film was Prahaar (1991, which was set against an army backdrop), and it was life-changing for him. Likewise, Uri won me a National Award, and that is indeed life-changing.

You just mentioned that you are an engineer by qualification. Why did you pursue it when you knew that your heart was in the movies? Was it a safety net or Plan B?
One thing was clear in our family — irrespective of what we wanted to pursue, we had to first complete our education. Tenth mein acche number aa gaye; so, I went with the flow. I am someone who believes that if I put my best foot forward, achcha hi hoga. At one point, as I mentioned earlier, I realised that this is not for me. Then I thought, I could pursue acting, possibly? I knew that I did not look like an actor, you know what I mean? I am talking about how it was 10-12 years ago, at a time when cinema was also different. It was not as evolved. There was this perception, that actor toh aise dikhte hai, aise hote hai. In 2009, I got my engineering degree and I also had a job offer letter in hand, which I tore into pieces, in full-on Bollywood style.

Honestly, I don’t believe in safety nets at all. Or making a Plan B. I believe that the extra one per cent that we all give, comes from our fear of survival and our fear of falling, when we have nothing to back us up. That’s where that added fire comes in and if you create a safety net, it could become the reason for complacency, and you could say, ‘So, if Plan A works, then good, or else, I have Plan B’. So, you are already thinking of your plans not working. I didn’t want to give myself that option. I told myself that this has to work, and I will make it work.

So, you were single-mindedly focused on being an actor. Whether you were a supporting actor, lead actor, or playing a small role, did not matter back then? Does it now?
Acting gives me the kind of joy that I can’t explain. Having said that, every actor in this country wants to be a hero. That’s one of the best things about being an actor. However, that was never the approach with which I came into the industry, ki hero banoonga, warna nahin. For me, being on a film set is like being in paradise. I don’t mind if you make me wait for two-three hours. If I am on the set, I am in a happy space. No matter how chaotic a film set is, it gives me peace. My focus was always on honing my skills as an actor, as I knew that my journey would not start off with a big launch. I had to prove my ability as an actor, and then, once I got my first break, it was about showing a certain kind of range with my roles.

Your father Sham Kaushal, has been an action director for years. Yet, your upbringing was far away from the world of movie sets and starry parties. So, when stardom happened, how did you react to it? And how did your family and friends react to how life has changed around you?
It is a beautiful feeling to receive so much love and affection from people. It’s humbling, and it took me time to get used to it. In the earlier years, whenever anyone requested for a photograph with me, I would ask them, ‘You know me? Have you seen my work?’ I started off with being called the Masaan guy. I don’t know how to react to stardom, I just feel humbled and grateful. My family is undoubtedly thrilled. Whenever we step out for dinner together and people ask me for pictures, they feel really happy. It is like their moment of pride. Sometimes, they even take ownership and tell the fans, ‘Haan, haan photo khichwao’. It is really funny. It is like they are watching some entertainment unfold. Of course, my friends are like all friends, they pull my leg about it. When they see people clicking selfies with me, they shoot videos of that, so that they can share it on our friends’ chat group and pull my leg further. These are the people who will always keep me grounded.

Now that you are considered a bankable hero, have the dynamics in the industry changed for you? I mean, the way producers and directors approach you and look at you as an actor who can bring in the numbers? It matters, right?
Of course, it matters. The kind of investment people would make in a Vicky Kaushal film has changed. It has gone up, and that happens when your film fares well at the box office. It also comes with a huge responsibility.

And it also adds immense pressure. In the beginning, it was more about proving that you are a stock of talent, and now, it is about picking great films that have the potential to bring in the moolah…
Yes, and that’s a good pressure. I have worked really hard so that I can feel this pressure on my shoulders. I have earned this pressure and I am cherishing it (laughs!). I want to put my best foot forward. I want to be as honest as I have always been, and not let all the attention (stardom) disturb that process, as everything that comes along is because of my honesty between action and cut. If I am honest in front of the camera, the rest of it will happen in the periphery. Like I said earlier, I can’t afford to lose focus or take anything for granted.

mid-day catches up with South superstar Mammootty on the set of Mamangam, touted to be one of Malayalam cinema's most expensive film
Sonil Dedhia (MID-DAY; June 23, 2019)

The shoot is on in full swing. An actor, covered in blood and deep gashes, is reviewing his last scene on the monitor. This is his fourth take, but action director Sham Kaushal wants one more. He requests the assistant director to capture the same shot from another angle.

It's a majestic set replete with mighty statues, the king's throne, lofty pillars and buzzing market areas with hundreds of fire torch lights. Though it seems like the makers of Mamangam, starring superstar Mammootty, are trying to reach the benchmark set by S S Rajamouli's Baahubali and its subsequent sequel, the actor makes it abundantly clear, "we aren't competing with anyone".

Everything on the set of the period drama, designed by art director Mohandas, reflects the ornate designs of medieval Indian structures. "It is the biggest set ever seen in Malayalam cinema. We've built everything to minimise the use of visual effects. We don't want to add CGI unnecessarily because that doesn't lend authenticity," explains Venu Kunnappilly, who is backing the film under the banner of Kavya Films.

Despite his experience of over 400 films, Mammootty, 67, exuberates the passion of newbie as he plays the lead role of a Chaaver (warrior). Set in 1695, Mamangam narrates the story of a religious festival held once every 12 years. It will present two stories — one of a celebrated hero and the other of an unknown champion embroiled in battle.

"It is a period film but not folklore. We have added elements of fiction to dramatise the situation. Since the 15th century, this festival has been celebrated every 12 years at Thirunavaya, on the banks of Brahmaputra River. Movies are the best medium to teach about history and this is our attempt to educate. I feel it is the duty of an actor to document history through cinema," explains the actor.

Kaushal, who is choreographing the stunts, is reuniting with Mammootty after they first collaborated for his Bollywood debut, Dharthiputra. "I'm working with him after almost two decades. We recently collaborated for the cop drama Unda [Mammootty's last release] and he is amazing. He is one of the greatest actors in Indian cinema, and even at this age, he has the same energy he did back then. His passion for cinema hasn't changed," says Kaushal.

It's the holy month of Ramzan and despite a hectic schedule, Mammootty religiously observes a fast every day. In fact, he will be performing the ancient martial art form, Kalaripayattu in the film, which has become part of his daily routine. "I have done it [martial arts] earlier in two films. It is tough to do action as we are prone to injuries, but that can also happen while sitting at home or crossing the road."

The three-time national award-winning actor feels that language is no longer a barrier in Indian cinema as Mamangam will be released in Malayalam, Tamil, Telugu, and Hindi. "Baahubali was made in various languages and broke all the records. It was the biggest thing that happened to Indian cinema. It was a definite game changer as it opened new doors. At the same time, we aren't competing with anyone. This is a story which hasn't been told before and to make it real, we have erected huge sets and reduced the use of VFX. I believe Mamangam will become a game changer of sorts for Malayalam cinema. If it does well, it will give way to more such films."

After years of experience, Mammootty still chooses to rehearse before the shoot. However, sometimes he prefers to improvise to get the right reaction. "Every actor should be able to bring their own to the table. We are aware of the subject, the character, and the scene, so as soon as the director says action, I personally go with my instincts. As for films like Mamangam, there is a lot of preparation required. When you are in front of the camera, you are all alone and there is nobody to help you. I have a tradition to finish a shot in the first take. When I do a retake, I won't be able to give a hundred per cent," he explains.

Mammootty credits hard work and luck as the major factors in shaping his career. "I believe luck will get you an opportunity and take you to a level, after which you need to work hard with dedication. I never wanted to become an actor, but when I got an opportunity I dedicated my life to it," he signs off with a broad smile.

Meet the couple that is pioneering in animatronics to execute stunts that would be impossible to pull off with real animals
Kunal Guha (MUMBAI MIRROR; June 21, 2019)

Most of us will remember the video that went viral — leaked from the sets of Manikarnika - The Queen of Jhansi — for which Kangana Ranaut was trolled for riding a dummy horse in a battle scene. The horse may have seemed out of sorts, but its use is not uncommon in films.

In fact, most period dramas in Indian cinema today rely heavily on animatronics — the technique of getting lifelike robots to ‘perform’ in films — particularly for executing stunts that would be virtually impossible using a real animal.

On a location shoot in Bulgaria recently for the ambitious bilingual Sye Raa Narasimha Reddy (starring Chiranjeevi and Amitabh Bachchan), an action sequence required Chiranjeevi to lean forward while on a galloping steed and swing his sword dangerously close to a camera placed a little above the ground, before riding away. “If executed with a real horse, this would not only be dangerous for the camera and crew, but the animal may not necessarily cover the requisite distance to get the desired shot,” says Prasun Basu who, along with wife Gauri Tiwari, has single-handedly been supplying animatronic horses for films.

Today, the Mumbai-based duo has created ‘hyper-real’ horses for Akshay Kumar (Housefull 4), Sanjay Dutt (Panipat), Chiranjeevi (Sye Raa Narasimha Reddy), Saif Ali Khan and Ajay Devgn (Tanhaji: The Unsung Warrior), among others.

“When shooting a scene where the hero must lead a charge of 200 horsemen through a barren route, [one must remember that] the camera tracks each and every bit of movement. So any slip-up in the shot would mean a waste of an hour to reset the take,” says Tiwari. With an animatronic horse, it can be reshot in minutes — another reason why it has become the go-to, time-saving solution for filmmakers.

Whether it is for extreme stunts or to avoid the wrath of animal rights activists, animatronics’ popularity has shot through the roof in the recent years. “[For her leaked battle scene] Kangana Ranaut had to call a press conference and explain the need for animatronics and how common it is in Hollywood,” says Basu, sitting in his Naigaon studio.

Communication design graduates from the National School of Design, Basu specialised in animation while Tiwari took up film and radio. Following several stints in advertising, TV and production, the two realised there was a big need for animatronics in Indian films too. “There were no real prop shops in Mumbai; only experts who specialised in things made out of specific materials, such as acrylic or rubber,” says Tiwari. “While filming commercials, we would hit a wall when we had to source a replica of a heart or a brain, or even a life-sized chicken. So we started creating these props ourselves.”

The duo got lucky when they were hired to create mythical characters for the TV show Hatim, in 2013. “It was a fantasy adventure, and the producers told us that they would sponsor our workshop for a year if we kept creating creatures that they could use in the show,” says Tiwari. The show required them to make imaginative creatures, like a bear with a human body, as well as werewolves. The experience allowed Basu and Tiwari to test the limits of their creativity by experimenting with materials such as gel-filled silicon, and also making bodysuits for actors playing mythical creatures.

They were also fortunate to receive pointers, from people in the film industry via internet forums, on materials to fabricate their hyper-real creatures with. “Ted Heines, a foam fabricator who works with American television and film SFX creator Stan Winston (of Avatar and Jurassic Park fame), told us about a kind of foam which was light and ideal for this purpose.”

Within a couple of years, Basu and Tiwari had painstakingly fabricated a realistic horse head. When they learnt that stunt director Nick Powell (X-Men: The Last Stand, The Bourne Identity) required dummy horses for Manikarnika, they decided to impress him with their creation. “He had worked with animatronic horses in Tom Cruise’s The Last Samurai. And when he saw the detailing and surface quality on our horse head, he was convinced,” says Basu, who not only bagged the job, but has since saddled with productions that strived for impossible stunts or sequences featuring animals.

Veteran action director Sham Kaushal (Padmaavat, Dangal) who has borrowed the duo’s mechanical animal for a couple of films feels that the use of animatronics greatly benefits the Hindi film industry. “In the 1980s, a scene where a horse topples could be shot with real horses, but today, it would be illegal,” says Kaushal. “You can’t force animals to follow a script and there are always some action scenes that you just can’t do with real animals. Back then, when a hero who couldn’t ride a horse had to be filmed riding one — filmmakers would take close-shots of the actor sitting on a stool and mimic the simulation. But today, the mechanism installed inside the dummy horse accurately interprets the rhythm and bounce that a rider would receive on a real horse.” Basu’s custom-made horses also got a stamp of approval when Powel flew down one of the best wranglers in the world to attest that “the effect on the body while riding was natural and not OTT”.

“In TV, most still try to get by with close shots of a wooden animal head being held up with a stick,” says Basu. “A reason why most Indian fabricators fail to render realism is because they cover the skeletal fibre creation with fur, which ends up making it look like a teddy bear.” Basu even consults Dr Santosh Gaikwad, India’s only taxidermist with fabrication queries. The duo are excited to share that their horses were recently reviewed by a major stunt director from the West, but they refuse to share the name. “In Hollywood, there’s only [creature effects artist] Mark Rappaport (The Revenant, 300) who has a couple of horses similar to ours, so we can understand the demand.”

In just a few years, the design couple has carved a niche for themselves in constructing lifelike creatures, apart from making the odd prop in shoots. “Now, filmmakers just call us and tell us the colour of the horse they need and we customise it for them,” says Tiwari.

Given the demand, the six horses they have in stock routinely require repairs, particularly after each shoot, to be battle-ready again. Sometimes, even a damaged creation delivers. “We had made an elephant for Manikarnika which never got used, but was damaged in transit. We salvaged the trunk, which was later used in Total Dhamaal and Junglee which features an elephant spraying water from its trunk,” says Tiwari.

Despite a surge in demand, the couple is well aware this kind of work is transitory — with what computer graphics can achieve. “You can create the tongue of a wolf in CG, but you cannot manage the realism that an actual figure would have, especially in the interaction shots,” he says, while petting a head of a wolf, that he created for an action scene in Housefull 4 starring Rana Daggubati.

From motorised creatures programmed to mimic movements, the couple is now moving on to more sophisticated manoeuvres. But it’s not something that any of their clients have yet found to be commercially viable. “If the animal is a protagonist or needs to emote, we can do it. But usually, the hero is not the horse. So, we just have to ensure there’s a smooth transition when the shot moves from wide-angle where a real horse is being ridden to the close-up of the animatronic horse,” says Basu who recently received a similar request from the makers of Shamshera, the action-adventure starring Ranbir Kapoor and Sanjay Dutt.

Soon enough, the couple is aware that they would inevitably end up with an eclectic inventory of animatronic creatures. They have an idea that would best utilise each item when not being borrowed for shoots: an animatronic zoo. “Imagine walking into a gorilla’s enclosure and he will tell you his story… the problems he faces in the wilderness and in captivity. It would be a kind of immersive theatre,” shares Tiwari. Now, that’s a concrete jungle to look forward to.

BOMBAY TIMES (May 28, 2019)

Ajay Devgn’s father, Veeru Devgan, who is counted among Bollywood’s veteran action directors, passed away yesterday morning at Surya Hospital in Santacruz where he was admitted as his health deteriorated. The final rites were held yesterday at 6 pm in the crematorium at Vile Parle. Devgan had choreographed stunts of over 80 films, including movies like Mr Natwarlal (1979), Kranti (1981), Himmatwala (1983), Shahenshah (1988), Tridev (1989) and Phool Aur Kaante (1991) among others. He had also directed Ajay in the film Hindustan Ki Kasam, which also featured Amitabh Bachchan, Manisha Koirala and Sushmita Sen.

Sanjay Dutt, Sunny and Bobby Deol dropped in at the actor's Juhu residence to pay their respects. Sham Kaushal, Vicky Kaushal’s dad, who is also an action director, wrote a heartfelt post on twitter. He wrote, “RIP Veeru Devgan ji. Just came to know about this sad news. As an Action Director always ahead of his times & as human being par excellence. I became a stuntman with his blessings on 8th August, 1980 as he signed my application to become a stuntman and made me part of his team. My first day of shoot as a stuntman, stunt double and my first outdoor shoot was under him. He fed me in his house when I did not have anything to eat. Can’t help crying while writing this (sic).” Ranvir Shorey tweeted, “@ajaydevgn Heartfelt condolences to you and the family. He was a kind, gentle and generous man. RIP.” South actor Sidharth, too, reached out to the actor over social media and wrote, “Deepest condolences and strength to @ajaydevgn and his family. Prayers and respects to #VeeruDevgan sir, a stellar veteran stunt choreographer. R.I.P.”

Varun Dhawan on the challenges he faced while flashbacking in time for a bare-bodied bull fight on a Colosseum-like set and in the biting cold of Kargil
Natasha Coutinho (MUMBAI MIRROR; April 2, 2019)

Varun Dhawan who has beefed up for his role in Abhishek Varman’s period drama Kalank is thrilled that among those who reacted to his look was co-star Sanjay Dutt, who is one of the first actors to sport a chiselled physique in Hindi films. “When the poster came out, Sanjay sir called me up to say that these are the kind of characters I should play. He also said he’s happy to see me all grown up,” recounts an elated Varun who is particularly excited about an excruciating Baahubali-like bull sequence filmed over eight days on a sweltering Mumbai set. “I moved into a hotel in Goregaon to save time and since I had suffered a knee injury and hamstring tear at the time, I had physios visiting me daily. But I still managed to continue with my twice-a-day training session at the hotel and in the make-shift gym on the set with my trainer Prashant Sawant.”

He jokes that during those painfully long days, there were times when he would feel the entire unit had ganged up to see when he’d succumb to the pressure and surrender. He remembers asking Abhishek for a body double because he didn’t want to get hurt and hold up his other shoots and getting no response. “Later, I learnt that he had told Sham Kaushal ji (action director) that he wanted me to do every stunt myself and instructed him to put me through the wringer, banging me against the wall and throwing me off a height,” he shudders at the memory, admitting that Zafar (his character in the film who is reportedly a blacksmith) has made him a tougher guy.

A Colosseum was built for the bull fight sequence in Mumbai and a portion was also shot in Kargil where despite the biting cold he had to go bare-bodied. “The blood you see is my own because Zafar is the kind of guy who will come out of a crisis with a smirk,” says Varun for whom the challenge was going big on muscles and still looking sharp. He reveals that at one point his muscles were shrinking and he was just dropping kgs till he introduced rice into his diet. “That gave me the body I wanted,” he smiles with satisfaction.

The Pathanis and the surma streaking his eyes enhanced the image he wanted to portray. Varun also wanted to grow out his hair and while his stylist Aalim Hakim and dress designer Manish Malhotra agreed with him, Abhishek was in two minds till he came on the set to shoot the “First Class” song. “Everyone from Karan (producer Karan Johar) to Alia (Bhatt), Kiara (Advani) and Aditya (Roy Kapur) reacted positively and Abhishek was happy,” he beams.

Meanwhile, Varun who recently wrapped up the London shoot of Remo D’souza’s musical, Street Dancer 3D, in which he is a today’s guy, leaner, with a goldstreaked mane, says switching looks doesn’t throw him off anymore. “That’s what you have to do as an actor. For Street Dancer, I’m back to my original size and the Varun that I am,” he signs off.