Akhilesh Singh (THE TIMES OF INDIA; August 26, 2020)

New Delhi: RSS mouthpiece ‘Panchjanya’, in its latest edition, has done a cover story on Bollywood films in which it has accused actor Aamir Khan of colluding with “anti-India forces”, with specific reference to China and Turkey.

The RSS weekly has been highly critical of the actor who recently called on Turkish First Lady Emine Erdogan. The magazine has dubbed Khan as a “favourite” of the Chinese Communist Party, giving an example of how his films have been big hits in China unlike other actors like Salman Khan, whose movies on the same subject couldn’t elicit the same response.

To prove its point, the magazine has cited Khan starrer “Dangal” which did a thriving business of over Rs 1,400 crore unlike Salman Khan’s “Sultan”, which earned Rs 40 crore. A piece in the main feature, “Dragon ka pyara Khan (Dragon loves Khan)”, points out how he has been ambassador of several Chinese brands and is a popular figure among the Chinese people who also refer to him as “Shu” and Uncle “Mi”.

“There is an ecosystem in China controlled by the Chinese Communist Party, which impacts trends on its social media and other spheres. Aamir Khan can’t be so popular without support of the Chinese ruling party. Therefore, an obvious question arises what makes him favourite of the Chinese ruling party, which has been conspiring against India,” Panchjanya editor Hitesh Shankar said. “He feels scared in the country, which gave him name and fame on his acting skills and not because of his religion. However, he was happy to be guest of Turkey, which has become a hardline Muslim country,” the magazine says. 

DABANGG 3 just about managed to get 1 crore footfalls despite the failure of the film. This means that Salman Khan had just one miss in the gone decade where only one of his films failed to hit the 1 crore footfall mark, that is, VEER. One crore footfalls is basically a real 100 crore nett value at the box office be it 1970 or 2020. Obviously today 1 crore footfalls means much more than 100 crore nett at the box office and in a few years it will give even more as ticket rates go higher.

One crore footfalls also means reaching a sizeable audience although some films need to reach a bigger audience due to the size of the films and most Salman Khan films come into this category. The one miss was VEER (2010) which was his first release of the decade and became before DABANGG (2010) which established his image of a mass action superstar across India and then films like BODYGUARD, READY and EK THA TIGER rubber stamped this image. VEER actually scored in Rajasthan and Bihar but Salman Khan was not the same star at the time of this release as he was a year or two later.

Basically just one film under 1 crore footfalls through the whole decade means most of his films got an audience irrelevant of content. If we compare, then Aamir Khan had one film which fell under 1 crore footfalls in the 2000-2009 decade but there were just nine releases and Manoj Kumar had one miss in the 1970-1979 decade but only ten films. Limited films had a hand in not missing the 1 crore mark for Aamir Khan and Manoj Kumar.

The Salman Khan films of the last decade are also finding big audiences on television in the Coronavirus lockdown period especially the two TIGER films. As far as OTT goes its being said that these B and C grade web series which have foundations based on sex and profanities rather than story and screenplay are the rage in the lockdown period but just the price paid for Salman Khan starrers which is around 100 crore is enough to tell what has a bigger audience. TIGER ZINDA HAI, RACE 3, BHARAT and DABANGG 3 have all fetched this price or nearabouts it.

The footfalls of Salman Khan starrer in the last decade are as follows. There were sixteen releases in total.
1. Veer (2010) - 73,47,000
2. Dabangg (2010) - 2,50,86,000
3. Ready (2011) - 1,84,52,000
4. Bodyguard (2011) - 2,21,48,000
5. Ek Tha Tiger (2012) - 2,47,39,000
6. Dabangg 2 (2012) - 2,05,28,000
7. Jai Ho (2014) - 1,43,98,000
8. Kick (2015) - 2,41,92,000
9. Bajrangi Bhaijaan (2015) - 3,54,17,000
10. Prem Ratan Dhan Payo (2015) - 2,22,76,000
11. Sultan (2016) - 3,20,85,000
12. Tubelight (2017) - 1,15,74,000
13. Tiger Zinda Hai (2017) - 3,08,89,000
14. Race 3 (2018) - 1,58,19,000
15. Bharat (2019) - 1,60,68,000
16. Dabangg 3 (2019) - 1,01,63,000

Korean stunt team designing action for Prabhudheva’s directorial, which is still on course for an Eid release
Himesh Mankad (MUMBAI MIRROR; March 13, 2020)

Even as other actor-producers are juggling their releases, Salman Khan’s Radhe is still on course to open on Eid. Just a few days of work remains on the action-thriller which is currently being shot in Mumbai after a marathon schedule in Goa during which a number of dare-devil action sequences were canned under the supervision of a stunt team from South Korea. Randeep Hooda, who has reunited with the actor for the third time, after the 2014 action-thriller Kick and the 2016 sports-drama, Sultan, for his first out-and-out negative role, shot for several smoke fights, hand-to-hand combats, gunfire and multiple chases. “There is this five-minute single shot for which my co-actor, who was on the heavy side, had to jump on my back. The stunt team insisted on several takes. When we were on the 18th one, my knee gave way,” Randeep reminisces, adding that he tried one more time, but the pain was intense, and he had to be rushed to the hospital. “Ironically, they finally settled for the first take.”

The actor, who for years has thumbed down all caricaturish baddie roles, agreed to play one in Salman’s home production on his request, which came with the promise of lots of action. “I respect Salman as a person and an actor. He has a certain way of working and since we have collaborated before, I am used to it and we had a lot of fun,” says Randeep, optimistic that the audience will enjoy seeing the two of them together.

While in Kick, Randeep played a no-nonsense cop, Himanshu Tyagi, on a mission to track down Salman’s Devil, and in Ali Abbas Zafar’s sports drama the role of Sultan’s boxing coach, Fateh Singh, this time he plays a Mumbai-based gangster. “I chased Salman in Kick and coached him in Sultan. This time, I’m testing him to see how much he has learnt from me as his character hunts for mine,” he smiles.

The film chronicles the gang wars of Mumbai, with Salman in the titular role of a Bhai opposite Disha Patani. Jacqueline Fernandez has a special turn in a dance number. The Prabhudheva-directorial wraps up by March end.

Salman Khan coping with back-to-back action films and stiff muscles with kick-boxing, flexibility exercises
Hiren Kotwani (MUMBAI MIRROR; January 8, 2020)

After pumping iron for decades, Salman Khan is venturing beyond the gym to stay fit. The actor’s interest in diversifying his training regimen began with his turn as a wrestler and a mixed martial arts fighter in Ali Abbas Zafar’s 2016 film, Sultan, and with the realisation that an extended period of weight training renders the body slightly stiff.

According to personal trainer Rakesh Yadav, who met the 54-year-old actor a few years ago and is now training him, Salman decided to include kick-boxing in his workout routine for long-term benefits. “The routine comes in handy for Salman as he does a lot of action films which can be tiring. It can also be used as a form of cardio workout,” shares the fitness expert, who also trains Tiger Shroff and Disha Patani in gymnastics, mixed martial arts and parkour.

Besides going to the gym every day, Salman dedicates two hours to flexibility and kickboxing three times a week in the evening at his Bandra residence. “It’s not unusual for someone to take a break after a month or few, but Salman sir keeps pushing and stretching himself. Initially, it was difficult, but after months of adapting to his new regimen, he has become fitter and can do a split more easily,” Rakesh reveals.

He goes on to share that Salman has particularly taken to kicks with jumps and turns. “He also recommended me to Katrina (Kaif) to help her prep for Tiger Zinda Hai and to Jacqueline Fernandez and Daisy Shah for their sequences in Race 3,” he informs.

Chaya Unnikrishnan (DNA; August 17, 2019)

As the distraught father of four children in the digital film, Barot House, Amit Sadh has been winning rave reviews. The ZEE5 original is a suspense drama about a family that’s caught in a series of murders. The actor likens the viewers’ response to what he received for his first web outing, Breathe. “To be honest, I didn’t know it’s making such an impact — the calls, the messages and reviews that I am getting are similar to what I got for Breathe. I am a little numb. I am happy as an actor that it is unanimously accepted by everyone. This doesn’t happen often. It happened with Kai Po Che! (2013) and Sultan (2016). It’s like a rainbow, which doesn’t come every time and I am enjoying it,” he smiles. The Gold actor tells us how he prepped for the role, his upcoming projects and why after Super 30 he hasn’t signed any film yet.

Both, in Breathe and Barot House, you have played complex characters. Why are you drawn to such roles?
I am a huge fan of Leonardo DiCaprio and Matthew McConaughey. When you are starting your career, you are pushed to do so many different things. But now, I think I have found a corner, a groove of what kind of stories I want to be part of and what type of characters I want to play. I have a soft corner for damaged people or those who are not supposedly quintessentially perfect but have the instincts to be protective. Like Kabir Sawant in Breathe was a protector, even in Barot House, the father is a provider. I want to do real-life characters from real-life situations.

How did you prep for the role?
It was a hell of a ride because I had to dig in a lot. I had to be in the zone for hours, day in and day out so that the consistency of the character and the draft was constant. When you lose someone, you don’t eat properly, don’t sleep and you are grieving. There is a certain method to show that — how you do it is up to you — don’t drink water, food, or torture yourself by remembering your bad past. I wanted people to feel my pain. We all have untapped or locked emotions. I had to stretch them and dig into things that I have healed from. It’s a taxing process, but when you finish it, you feel light. There is a psychological cleansing. Now, when people see it and give their interpretation, it brings a smile to your face.

You are part of the web series, India Strikes Back, but there’s a film on the subject. How will your show be different?
I am a huge fan of that film (Uri: The Surgical Strike), too. It’s a great movie. But that is a movie format and this is a web series. You will get to see more details here. It’s an intriguing subject, so, I am sure people will be interested in watching all the details which are difficult to show in a film. We have about 10 episodes — you’ll get to see how special forces function, the democracy, the decision making when you are at war, etc.  We have really worked hard — I literally hurt and bent my back with 40-kg armour, shooting the entire day. After this series, my respect for the services and people in uniform has doubled.

You have worked with Abhishek Bachchan in the second season of Breathe. How was the experience?
It was great fun working with him. I always call him big bro. I have looked up to him in films like Guru and Yuva. Those were actually my learning curves before I even entered movies. I feel privileged and happy that he has brought new energy to Breathe. He is a talented actor and his fans will love him for what he has done in it.

Have you signed any films after Super 30?
Honestly, I don’t have any film right now. I am gearing up for India Strikes Back followed by Breathe 2. Let’s see, after watching all these if the producers and directors will think of giving me something special. This time I am going to wait, and not sign anything. I have done enough guest appearances; I want my fans to watch me in a full-fledged role in a film.

Do you feel you haven’t got your due in movies?
I don’t think like that. I have movies like Kai Po Che, Sultan and Gold. Everyone has their own interpretation about what is due to them, but yes, my fans keep messaging me on social media saying I am an underdog, or that I haven’t got my due. I came with Rs 200-300 in my pocket to Mumbai and aaj Hindustan mujhe janta hai. But, I do feel why I am not getting the parts that I want and somewhere I am grateful to the digital platform which has given me a new ray of hope. I am proud of my work here and I will continue to be on it. However, I am an actor and I want to do movies. The way I go to watch The Rock in Fast And Furious, I want people to come and watch me. I had three scenes in Super 30, but I got a good response. Still, as of now, I am not going to do guest appearances. I am waiting for that right film.

Ali Abbas Zafar on the bond between him and his leading man and why switching genres is important for a filmmaker
Himesh Mankad (MUMBAI MIRROR; June 24, 2019)

At 28, Ali Abbas Zafar made his directorial debut with the 2011 Katrina Kaif and Imran Khan-starrer Mere Brother Ki Dulhan. He followed it up with three films with Salman Khan, and the duo has emerged as a formidable combo. Now, Ali is looking forward to their reunion with a franchise. Excerpts from an interview:

How did your friendship with Salman take off?
I was an assistant director on Marigold (the 2007 Salman-starrer) but our first interaction happened while I was directing Gunday and he was shooting for Ek Tha Tiger. Katrina, who is close to both of us, introduced us. He heard Gunday’s story, and reacted positively to it, saying it’s a typical mainstream potboiler. He is like family to me. I treat him like an elder brother. The maturity in my work comes from his experience. When you do a film with Salman Khan, you can’t alienate a section of audience.

How do you react to fall-out reports between the two of you?
I don’t need to answer anyone because we know what our relationship stands for. I have never seen anyone write an article saying ‘oh, things are great between Salman and Ali’ but people only want to write that things are not great. They are more interested in writing wrong things about people.

How did you become a filmmaker?
I was doing a lot of theatre while studying at Kirori Mal College (in Delhi). I was involved in stagedesigning, acting, direction. Since then, I was clear that I wanted to be a director. After finishing my last project as an assistant director (Badmaash Company), Adi (Aditya Chopra), who is my soul brother and responsible for who I am today, told me, “Ali, I see a strong creative side in you, why don’t you start writing?” I had already written Mere Brother Ki Dulhan. He heard the story, and it was locked within seven days of the first meeting, while the cast was in place in another month.

From a rom-com to a sports drama (Sultan), an action thriller (Tiger Zinda Hai) and now, a family-drama with Bharat. You have switched genres with every film…
Exploring new stories gives you the same excitement as that of your first film. I don’t want to be termed as a filmmaker who makes a certain kind of cinema. It is important to explore new stories so that you don’t become boring with your work. Sometimes the appreciation will be universal, sometimes it will be mixed. But it’s important to keep trying.

Which one has been the most challenging?
It has to be Bharat because we tried to compress 70 years of history in two hours and in doing so, one has to be sure of what to retain and to edit out. Also, since it’s a period drama, I had to find emotion in something that I had not experienced in my life—it came from research. The film was not a copy-paste of the Korean original (An Ode To My Father). I made it a completely new film.

Did you think Bharat was riskier than the previous films as well?
Since Sultan and Tiger were big blockbusters, SK and I decided to team up on a film that’s different. We were aware that the new film’s business might not be the same as Sultan or Tiger Zinda Hai as we were on a slightly unconventional route. At the box-office, it has not done similar business as our previous films but is still a big money spinner for everyone associated. Not all films are meant to make Rs 300 crore at the box-office.

Since it’s Salman, a lot of people expected more action in the pirate scene, but you did not play to the gallery...
His character has been brought up with the philosophy of non-violence. The idea was to make people realise that violence is not the answer and the biggest problems can be solved by sitting across the table. We wanted to take a newer approach rather than have people say, “Ab toh Salman logon ko marega.”

You have thanked Baahubali writer, K V Vijayendra Prasad, in the film. Why is that so?
I think that thanks came from Atul (Agnihotri, producer) because when I was doing Sultan, Mr Vijayendra Prasad was developing the script for SK and Atul.

Is there anything you wish to change about your previous films?
With Bharat, I would want to rework the music because when we were working on it, we were sure that it would have a strong appeal, but it didn’t turn out the way it was intended. On Tiger (Tiger Zinda Hai), given the available resources, a little more time and we could have executed the action even better. In Sultan, if I had more time, I would work on the fights that SK had in the MMA section. I feel a bit more work on Gunday’s script would have made it stronger. The first film is always special and since I was learning while shooting Mere Brother Ki Dulhan, I wouldn’t want to change anything.

What’s happening with the third instalment in the Tiger franchise?
Right now, I am on a break in Dehradun, but I will be working on the script and as soon as it is ready, I will share it with SK. He is busy doing big films one after another and when we find a window, we will jump into Tiger 3.

And that would be your next directorial?
I haven’t decided on my next film as there are two stories that I am toying with right now. One of them is Tiger. Depending on which one I finish first and availability of dates, I’ll decide my next.

Is the second script also for Salman?
Well, that’s something I’d know only after completing the script.

Have you thought of a spin-off on Katrina’s character, Zoya, from Tiger franchise?
We are working on something which is a spin-off for Zoya, but let’s see. It is very important to lock the story first as only after that everything is possible.

What are the pressures of directing a big franchise like Tiger?
There is always pressure working with Salman, but when you do a franchise, it just multiplies. It is essential to write a bigger and better story every time you decide to carry forward the franchise. With my combination with SK, people put extra pressure and it gets even tougher.

Lastly, any plans to cast Salman and Shah Rukh in a film?
That is my dream project and inshallah, someday, I would write a story that brings them together in a film.

Bharat director on how iconic scene in Amitabh-starrer Deewaar led to an important sequence in Sultan, featuring Salman Khan
MID-DAY (June 8, 2019)

Director Ali Abbas Zafar says there is one iconic scene of Amitabh Bachchan in the classic film, Deewaar that influenced him tremendously. “There is a scene in Deewaar where Bachchan talks to God. Unfortunately, you cannot write a scene like that today as it could become controversial. But that [sequence] became the soul of [my film] Sultan, where Salman Khan sits in the Dargah and tells Aarfa [Anushka Sharma’s character] that he is returning to get what he lost,” he said.

Having once harboured the desire to join the Indian Armed Forces as an Air Force pilot, Zafar says he found his ability to entertain as a filmmaker when he joined theatre in Delhi University. He says he has only interacted with “cinema as an audience”.

Meanwhile, Zafar’s Eid release Bharat has been going strong at the box office. After earning Rs 42 crore on its opening day, it bagged Rs 31 crore on Thursday, taking its two-day tally to Rs 73 crore.

Neha Maheshwri (BOMBAY TIMES; June 1, 2019)

He might have a few box office winners to his credit, but director Ali Abbas Zafar says that his craft is not rooted in formal education. Instead, it’s the world around him and the works of a few Indian and international filmmakers that has inspired him and helped him evolve. In a candid tête-à-tête with BT, ahead of the release of his next, Bharat, Ali talks about why he is a firm follower of Mahatma Gandhi, and the blind trust that Salman Khan and Katrina Kaif have in him. Excerpts…

Bharat is your third film with Salman Khan after Sultan and Tiger Zinda Hai (TZH). How has your equation with him changed over the years?
The relationship between an actor and director has be to be honest. During Sultan, my relationship with Salman was different, which changed while working on TZH. And, it has matured further with Bharat. Arguments and disagreements are bound to happen; if I can disagree with my family and friends, it can happen on a film set, too. However, I never impose myself on Salman or Katrina and it’s the same with them. Sometimes, I fall short, and other times, they do. But it’s never about pointing fingers at each other.

Katrina was part of your directorial debut, Mere Brother Ki Dulhan (MBKD, 2011). As an artiste, how much has she evolved over the years? Her performance in Zero (2018) was appreciated by everyone...
She has evolved phenomenally. When I worked with her on TZH six years after MBKD, I saw a different person altogether. As an actor, what you do in front of the camera is not the only thing that’s important, what you go through in your personal life also matters. Everyone learns and grows with experience. For example, when I watch MBKD today, I feel that I made such an amateurish film. Maybe, I will feel the same about Sultan, TZH and Bharat when I watch them 10 years later. One should be critical of one’s own work, learn from it and do a better job in the next project.

Did you have to alter the script of Bharat when Katrina came in place of Priyanka Chopra Jonas, who opted out because of personal reasons?
Priyanka was doing something, which was giving her a lot of happiness. She said that she could manage the film, but her dates would go for a toss. I couldn’t do anything about it, as I had already zeroed in on my release date. If that wasn’t the case, we could have pushed it. However, I wasn’t upset. Marriage is very important, and Priyanka is still a good friend of mine. When Katrina came on board, I gave her the script and told her that we would retain only what she wanted. However, after reading it, she told me that she didn’t want anything changed.

You talked about how experiences help an artiste grow and evolve. How do you look back on your own journey? Could you take us back to the time you chose to be a filmmaker?
I had no intention of becoming a film director. After completing my schooling in Dehradun, I joined Delhi University (DU), where I was part of a theatre group called The Players, which boasts of a huge legacy of stalwarts like Amitabh Bachchan, Satish Kaushik and Kulbhushan Kharbanda. That’s where the writing, directing and acting bug bit me. I realised that I wanted to do films and found it to be more exciting than biochemistry. So, I came to Mumbai without any connections in the industry, but still landed work with a big banner. Five years later, I made my first film. I didn’t have a formal training in filmmaking, but learnt everything on the job. I was fairly good at studies, especially science. And when you are a science student, you understand technicalities really well. Cinema is applied art, where you really need to understand what the camera and the sound do. However, as far as the script and sensibility is concerned, it is internal and emotional. I feel that balance shows in my work.

Is there anyone in particular who inspired you?
Back home in Dehradun, I was hardly exposed to movies. At home, we had a DVD of the Amitabh Bachchan-starrer Deewaar (1975), which is phenomenal. So, everything I do today is somewhere inspired by Yash Chopra’s work, along with movies by international filmmakers. People’s lives inspire me a lot as well, whether it’s The Dalai Lama, Nelson Mandela, Mahatma Gandhi or Bhagat Singh. Their stories helped me evolve as a person. I always believe that whether it’s a play, story, poem or film, what matters the most is the perspective that you want to show your audience.

Well, viewers seem to relate to your perspective, given the fact that your previous films were hits...
God has been really kind. But that’s always been my approach. For me, it’s all about relatability and the conversations happening around me. They somehow become the driving force behind my point of view. That’s the crux of cinema — it’s entertainment, but with that, if you can give the audience some content or a story they can identify with, you are through. My films reflect my own value systems and beliefs in some way or the other. Having said that, I also know that viewers come to theatres for entertainment. So, I am not here to preach. As Katrina Kaif says in Bharat, ‘Itne bhaari gyaan ki koi zaroorat nahi hai’. As a filmmaker, the most important thing you need is clarity about the story and its relevance.

You said that you have been inspired by real-life heroes like Mahatma Gandhi and The Dalai Lama. Does that prompt you to feature your heroes as larger-than-life on screen?
Till the time my hero doesn’t trigger anything emotionally, physically or do something for society, he is not a hero. Obviously, physicality plays a big role, too. I always ask myself one pertinent question: Why will the audience watch my hero or heroine? When I say hero, it doesn’t represent only the man in the film, it’s also the female lead and other characters. These days, people use the term ‘content’, as if it has just dropped from nowhere. The films I grew up watching, had content. So, why do we keep saying that Indian cinema needs content? The fact is that our stories are changing and we need to narrate relevant stories instead of old ones. My own films, which have worked, had strong and relatable stories. Relevant stories will always draw the audience; a bad story will not work even with the biggest stars. Actors are not superheroes. What makes them superheroes are the films they do.

Ali Abbas Zafar, the writer-director of Salman Khan’s upcoming Eid release, has written and composed a song for the first time with the film
Himesh Mankad (MUMBAI MIRROR; May 16, 2019)

Mirror had earlier reported (January 30) that Salman Khan’s upcoming Eid release, Bharat, will have half-a-dozen songs celebrating the different festivals and spirit of its leading man. Now, we have learnt that the film’s director, Ali Abbas Zafar, is making his debut as a composer and lyricist with the song “Zinda”, which is also the film’s anthem. Ali has penned and set it to tune with Julius Packiam, who has also worked on the background score of the period-drama.

“It was originally a poem which I had written while scripting the film,” informs Ali, saying the idea stems from Bharat’s journey through seven decades as he endeavours to keep the promise he made to his father. “The core message of the film is that belief and conviction keep you alive.” Ali reveals that the track plays during the most vulnerable moments when Bharat is on a high or has hit a low. “It is an uplifting track and infuses him with the strength of purpose,” says Ali. It is sung by Vishal, from the composer duo of Vishal-Shekhar, who have collaborated on the album of the film which is produced by Atul Agnihotri and Bhushan Kumar and co-produced by Nikhil Namit. “We composed it keeping Vishal’s voice in mind, it’s powerful and grungy.”

Prod him on Salman’s reaction and Ali laughs, “Bhai doesn’t know yet, we don’t share these small details, he knows I keep doing something or the other. But this time I think he will be surprised. Of course, he’ll pull my leg, saying, ‘So now, you’ve starting writing songs too, now you will ask for an extra cheque.’ That’s the kind of bond we share,” he chuckles. Having worked with Salman in Sultan and Tiger Zinda Hai, Ali believes that it is essential to write larger-than-life characters for the actor. “The characters have to be bigger than what his fans have seen so far. Right from Sultan to Bharat, his roles in my films have always been very inspiring,” the writerdirector maintains, but admits this film is more emotional than the spythriller and the wrestling-drama. “No one can pull off emotions like Salman. Of course, there is action, drama, and comedy too.”

Bharat also features Katrina Kaif, Sunil Grover, Shashank Arora and Jackie Shroff in pivotal roles. It takes off in 1947 and continues till the present day. 

Ali Abbas Zafar explains what makes Salman Khan a crowdpuller; recounts his journey from biochemistry to Bollywood’s wonderland
Roshmila Bhattacharya (MUMBAI MIRROR; April 24, 2019)

In jeans and a Tee, Ali Abbas Zafar looks more like a guy-next-door than Bollywood’s A-list director. His Eid offering, the Salman Khan, Bhushan Kumar, Atul Agnihotri-produced Bharat, will open on June 5 and Ali is in the midst of post-production. But when he settles into his chair at a suburban studio, there’re no signs of rush. In fact, there’s a rare thehraav in his demeanour, a mathematical clarity in his thought process as he states that cinema is an applied art and not a fine art. Excerpts:

Mere Brother Ki Dulhan, Gunday, Sultan, Tiger Zinda Hai, and now Bharat, you are one of the most sought-after directors today. Enjoying the high or does the pressure give you sleepless nights?
(Laughs) Oh, lots of sleepless nights but since I’m doing what makes me happy, the days are satisfying. The pressure increases when it’s a big Eid release for a pan-India audience. There are people who watch one-two films a year and measuring up to their expectations keeps me on my toes.

You were doing your masters in biochemistry at the Delhi University. What brought you to Bollywood?
I’m a filmmaker by accident. Kirori Mal College has an active theatre group, Players, whose alumni includes Mr Bachchan (Amitabh), Satish Kaushik, Kabir Khan and Habib Faisal. I wanted to join the Indian Administrative Services (IAS) but after becoming a part of this group, I realised this is what makes me happy. So, though I had no background in TV or film – my dad is in the armed forces and my mom is a teacher – your typical-small town boy came to Mumbai to tell stories.

Tell us about your first attempt at direction?
That was Mere Brother Ki Dulhan (the 2011 romcom). The simple story, told earnestly, grew out of real life. It was set in Dehradun where I’d grown up and Delhi where I was studying. My brother lived in London while I was a struggling assistant director in Mumbai, like Imran Khan’s character. It was a customised Bollywood film with a three-act structure, an emotional and musical graph. It struck a chord.

Did you get the girl in real life?
(Laughs) No, but you can live your dreams in films.

What kind of films did you grow up on?
In mid-90s Dehradun, we either played sports or watched movies. I saw many films with friends after school and on holidays. But the only film I saw at home was Deewaar which my dad said balanced out right and wrong in a human way.

Would you like to remake Deewaar?
Sultan was very close to Deewaar in the way its protagonist’s self-esteem/ego swings between right and wrong, and his redemption happens when he hits rockbottom and comes from within. Islam says the strongest jihad is the one you fight within yourself.

Sultan could have played any sport, why wrestling?
He could have been a rock star too, but I chose to make him a sportsman because I’d played hockey and football. It was wrestling because hundreds watch you fall in the akhada, making a loss a public humiliation, and the rise a public celebration. Kushti is a centuries-old sport that rises from the grassroots and has the soul of Hindustan which made it easier for the mass audience to identify with.

Bharat is the journey of one man over six decades, reflecting the country’s history. How old are you to attempt a film with an epic sweep?
(Laughs) I’m 36, but it’s not so much about experience. If you understand life, even if you haven’t lived it but seen it in those around, you can mirror it. This is my third film with Salman (Khan) and much of the maturity in my work comes from his experience. Bharat is the story of every Indian, of togetherness and responsibilities. A line in the film goes, “Desh logon se banta hai aur logon ki pehchan unke parivar se hoti hai.” And as the nation is a family, that’s the metaphor Bharat hinges on without being preachy or political.

Why adapt a Korean film, Ode To My Father, to tell the story of Bharat?
Emotions are universal and what I liked about Ode To My Father was the coherency of the emotions and the text. We’ve added a lot of Indian cultural subtext, the film reflects the events and changes from 1947 to 2010. My dad believes if you pick the right story that says the right things, you can’t go wrong. While many Hindi films revolve around the mother and son, the father has often been portrayed as a hard disciplinarian. My relationship with my dad and Salman’s with his (Salim Khan) is different and at the core of the film. That’s why only Salman could play Bharat.

How did the title come about?
Since the film isn’t only about a father and son, I didn’t want to translate Ode To My Father. I was tossing in bed at 5 am when the title came to me. Hours later, when I met SK and Atul I told them I had a title, Bharat. They froze for two seconds, then Salman said “yes”. Since this man symbolises the nation what better than Bharat.

How do your parents view your phenomenal success?
(Smiles) My father is my hero and my mother my superhero. They’re simple people, have never visited a set, not even mine. They’re happy for me but still urge me to complete my education. My brother has two MBAs and a Masters in Social Work, my parents are both post-graduates, I’m the only uneducated one (Laughs).

Salman’s Tiger comes out of a room full of poisononous gas, guns blazing, and the audience cheers. How do you create this suspension of disbelief?
Whether it’s Gunday, Tiger Zinda Hai, Sultan or Bharat, you have to connect with the audience in the first 20 minutes by showing something the character does or believes in that makes them root for him. Once that happens, they are with him even when he single-handedly decimates an entire army. If a superhero is selfless, and you have a star like Salman Khan, whom the audience loves, playing him, half the battle is won.

What makes Salman a superhero?
His honesty and earnestness. His communication with his audience is very direct. And even when he lives a character, Salman Khan doesn’t disappear 100 per cent. Whether its Tiger, Sultan or Bharat, his magical presence in there in the characters.

Has he evolved through the three films you’ve done together?
He was very evolved in the first film itself. I was the one who learnt from him. SK is a deep, mature and beautiful actor/human being, and when he identifies with an emotion, it just flows. There’s a scene in Sultan when he takes off his shirt and looks at his slightly out-of-shape body in the mirror. He avoided doing it till the last day, then suddenly stripped and faced the camera. It was a one-take shot and I couldn’t have asked for anything better. He’s so spontaneous when he’s in character. A star needs to be an actor, or he’ll fizzle out soon. Salman has been around for 30 years and his stardom has only grown.

Katrina Kaif and you share a beautiful relationship and she came on-board just days before Bharat rolled; after Priyanka Chopra confided her secret in you in the “nick of time” and exited.
Priyanka was doing the film but things happened. As a friend she shared it with me and I told that her life is most important. She’s still a close friend. We laugh and talk twice a month. I’m very happy for her. And I’m grateful to Katrina for stepping in. I was honest with her and told her I was sending her a script. If she liked it, we’d discuss it further. She’s my closest friend in Mumbai, we come from similar middle class backgrounds, our values are the same, and we discuss everything. But on the work front, we’re very transparent with each other. If she doesn’t like something I’m doing, she lets me know and vice versa. In an industry where friendships don’t last even for months, ours has continued for over a decade.

What was her reaction to Bharat?
She told me it’s one of my best scripts and she’d do anything to be a part of the film. She’s done a phenomenal job. She’s grown as an actor, has a better command over the language now. She was loved in Mere Brother Ki Dulhan, Tiger Zinda Hai and even her performance in Zero was well received. She’s in top form and the maturity she has brought to Madam Sir’s character is commendable. There were times when on the sets, Salman would take me to a corner and say, “Sir, yeh scene to Katrina le gayi, ab mujhe kuch karna padega.” (Laughs) We are both very fond of her and together in a happy space, so he can crack such jokes.

Is your next with Ranveer Singh?
We’re friends, we keep meeting and discussing ideas, but there’s nothing concrete.

Sultan 2 or a Tiger 3 happening?
I have a couple of stories and I’d like to return with Tiger someday. I also want to do a love story.

With Salman?
(Smiles) There’s a possibility, he’s a big romantic hero. And I always narrate my stories to him first, he’s very objective. Aditya Chopra is another strong influence. In our field, it’s hard to find people you can trust, I’m lucky I have them as my first bouncing boards. But to get out of Bharat, a journey with many shades, I want to do a big action film next. But till Eid, my focus is Bharat.

Chaya Unnikrishnan (DNA; September 27, 2018)

After assisting on films like Bajrangi Bhaijaan and Sultan, Aayush Sharma is gearing up for the release of his acting debut LoveYatri. With Salman Khan launching him, the newbie couldn’t have asked for a better beginning. He is aware of the privilege and candidly says, “If you take away ‘SKF’ from my film, you wouldn’t have talked to me or interviewed me.” And, while his fate at the box-office will be decided on October 5 when the film releases, Aayush has already caught the audience’s attention for his dancing skills in songs like Rangtari and Chogada. Here, he talks about making the transition from an assistant director to an actor, Bhai’s advice to him and more.

Did you always want to be an actor?
No. I never thought I would be an actor. When I came to Mumbai to study at Jai Hind College, I thought I would open a restaurant, but my friends would say I should be an actor. At that time, I thought of doing a prime-time TV show, as it will be a good way to stay in Mumbai and my parents could watch me on the the small screen back home. But I never went for auditions to get work. I was staying in Bandra and happened to meet Arpita (Khan), then Sohail (Khan) and Salman bhai. They, too, told me I should try for acting as they believed I had the potential.

Was that when you started training?
I had neither participated in the school assembly, nor was I into any theatre group. To be honest, I was too shy. So, I had to start from ground zero. I started assisting on films like Bajrangi Bhaijaan (2015), Prem Ratan Dhan Payo (2015), Sultan (2016) and Tubelight (2017). That was really an eye-opener on how movies are made. I also learnt the technical aspects.

Once you have assisted on a movie, you start respecting the hard work that goes behind making one. When Bajrangi Bhaijaan became a blockbuster and won critical acclaim, somewhere I felt it is my film. I thought I should be a part of this profession and do one movie that people will remember me for.

How did LoveYatri happen?
I was assisting on Sultan where Abhiraj (Minawala) was the first AD. He wanted to make his directorial debut and was working on a film written by Narenbhai (Bhatt). He narrated LoveYatri’s idea to Salman bhai saying I could do the film. Bhai liked the plot and asked him to work on it. During Tubelight, I heard the script and I loved it. I found it to be a good blend of content and commerce. You can’t control the box office, but you have to be proud of the content you are going to bring out. They were looking for a studio to produce it when Bhai said, ‘I want it to be an SKF film’.

What tips did you take from Salman Khan?
Every time I was on Salman bhai’s set, I tried to ask him about acting and he would say, ‘Acting is a reflection of what you are in real life, the day you try to act, you will ham’. He told me to keep observing and marking his work before his take. He did not even come on the sets on the first day of my shoot.

Instead, early in the morning at 7 he sent me a message saying: Feel every line, every emotion, every character. You don’t need to be Aayush anymore, you need to be the character. For me, it was too much to process! All these years, he didn’t give me any advice and suddenly so many things (laughs).

How was your first day on the sets?
I was excited, but also nervous. I was still getting used to the idea that from an assistant, I was now an actor. It was new, more so because many people feel that I am here because I am related to someone. Now, I needed to give such a shot that the ADs say, ‘He deserves to be here’. That was playing on my mind along with the advice that Bhai had given me. But it was a smooth day, we started with the song Tera Hua. At the end of the day, when I messaged Bhai about it, he texted back a sweet message saying, ‘Insha Allah! Beta best of luck, I hope from this day onward, you never have a day off and spend every day in front of the camera’.

With all the talk about nepotism, do you feel you are the privileged one?
I believe there are some people whose talent hasn’t got due credit and are waiting for a platform like this. I am lucky to have it, but more than that, I am fortunate to have the guidance of someone experienced. Many people are not guided properly and are wasting their time doing something else. There is also a difference between the box-office collection of debutants who have no i connections as opposed to those who have them. If a film with newcomers doesn’t have a big banner attached to it, it doesn’t get marketed well. Realistically, they don’t get that kind of publicity or screens. If you take SKF away from LoveYatri, who will talk to me or interview me? Of course, it helps. An outsider has to figure his own way out.

At the same time, I am as new and as raw as Warina (Hussain, his co-star) is. I was not born into a film family, but because I have a certain background, people will look at me, and say, ‘Let’s criticise him’. But in case of Warina, whatever she does, they will say, fine, it’s her first film. So, it works both ways, there are advantages and disadvantages. My only hope is that when people see the film and my work they say, ‘He deserves to be an actor’. That will be my victory.

Usually, newcomers tend to hide their marriage or family from the media as it may affect their image...
My wife has been my support system. I got married into a famous family, and I don’t think hiding your wife or child will help in your career. If you are good at your work, married or single doesn’t matter. At the end of the day people will look at your work. My family is my motivation. I believe Arpita is known as Salman Khan’s sister, I want to work hard enough that she is proud to be called Aayush Sharma’s wife. My family is the source of my strength.

Were you upset when the title was changed from LoveRatri to LoveYatri?
I have been living with the title LoveRatri for the past one year, so when they changed it I said, ‘No, that is my identity, you can’t take it away from me’. But I respect people’s emotions, it’s not important what the film is called. I have four hit songs, people know me as the Chogada boy, not LoveRatri boy. The producer’s intention is to launch three careers with the film, so when some people peacefully told us to change the title before it became a media spectacle, we did it. We made it with a lot of pyaar and hope that pyaar continues.