Showing posts with label Suneel Darshan. Show all posts
Showing posts with label Suneel Darshan. Show all posts
We need stakeholders, not employees-Viveck Vaswani
9:27 AM
Producer, media-educator Viveck Vaswani fires fresh salvo in the new year on what’s ailing Bollywood; prohibitive prices of multiplex tickets, included
Viveck Vaswani (MID-DAY; January 2, 2025)
There’s a definite crisis in the Hindi film industry. Films aren’t working as they should. South Indian cinema has taken over the Hindi market.
OTT is the easier alternative to excel in. For one, every middleclass home has a big-screen TV. And you can eat your home-cooked snacks, fresh off the air fryer. We need audiences to come back in droves, into cinemas—to see Hindi films!
Why’s that not happening, in the way it should? Here’s the real deal, straight from logic.
I’ve witnessed enough actors/producers/directors escape from their one primary responsibility—you’ve got one job—to make films, that sell tickets!
Yes, independent cinema; yes, cinema as art; yes, cinema that has a voice; yes, noir; yes, abstract; yes, brave new cinema; yes, cinema for festivals; yes, niche cinema… Why not, yes, cinema, that sells tickets?
Because everybody in this generation knows cinema, that is taught at film school—cinema in theory, cinema as technology. Yet, technically, anybody can be a filmmaker, or actor, without that one basic qualification—knowledge of the audience!
They don’t buy tickets themselves; why should their audience? Why not straightforward entertainment, then? Why not understand what made Raj Kapoor and Vijay Anand tick, with their audiences?
Their retrospective tributes ran to full houses across the country in 2024, defying all logic. Why not great music, created by human beans, not machines and synthesisers? Because everybody is evading the real reason for the collapse—simply, enough tickets are not being sold!
OTT is free; watching films on gadgets is free. But it’s not only about the filmmakers. The other side of this coin is equally and completely scary!
Let’s now look at the prohibitive cost of multiplex tickets, that is equally to blame for the decline in ticket sales.
A country where merely over two per cent of the total population pays income tax means that almost 98 per cent percent of the population earns an average of, roughly speaking, between Rs 15,000 to Rs 40,000 per month. How can they pay Rs 250, Rs 360, Rs 500, upwards, per ticket? They can’t!
So, the multiplex chain caters to only about two per cent of the country; what about the rest? Are they not entitled to see big cinema on the big screen?
But ’plexes are shutting down the single screens, and most of the lower and middle class audiences are watching films, four to seven weeks post the cinema release, on OTT. Or, especially the kids, hacking sites and watching films they pirate.
The ’plex sells popcorn and beverages at humongous prices. And mine their real-estate—by showing hours of ads, through parking charges, and asking producers/distributors to pay to show promotional material of their films.
The production sector doesn’t know their audience; the exhibitors are not in the business of cinema, they’re in the food and real estate business.
Now, what?
The basic difference between South Indian cinema industries and the Hindi film industry is one word—the bulk of that industry is made up of ‘stakeholders’ of the business. The bulk of the Hindi film industry is made up of employees!
There are very few stakeholders left in Bollywood: Aditya Chopra, Rakesh Roshan, Suneel Darshan are three that I can name offhand. They own their films.
So, let’s go back to the drawing board: let’s create a simpler ticket-pricing package; let’s keep our ownership, and become stakeholders. Let’s have a stake in the success of each film we make, each ’plex we build, each deal we do! Let’s be makers, and then go back to the cinemas.
The audience will come!
Sunny Deol accused of dishonouring multiple film commitments after taking advance payments
11:19 PM
The actor-MP has been accused of dishonouring multiple film commitments after taking advance payments, more so after his film Gadar 2 had a successful run at the box office
Yashika Mathur (HINDUSTAN TIMES; May 30, 2024)
Film producer Sorav Gupta (of Sundawn Entertainment Pvt Ltd) has levelled shocking allegations of cheating, extortion and forgery against actor-MP Sunny Deol. In a press conference earlier this week, Gupta, a real estate developer turned producer alleged that Sunny Deol took money from him in advance to do a film in 2016, continued to take more money while promising that he would start the film, but eventually never ended up doing the film after his recent film Gadar 2 became a huge hit.
Gupta tells HT City that in 2016 he signed a deal with Sunny Deol as the lead for his film on a fee of Rs. 4 cr. “We gave him Rs. 1 cr in advance but instead of starting my film, he opted to shoot for Poster Boys (2017) instead. He kept asking me for more money and by now my Rs. 2.55 cr is in Sunny ji’s account. He also made me give money to another director, book Filmistaan studio and get an executive producer,” Gupta tells us.
The producer also alleges that Deol forged an agreement with his company in 2023. “When we read the agreement, humne dekha ki unhonein toh panna hi change kar diya beech wala, jahan par fees ka amount Rs. 4 cr ko badha kar Rs. 8 cr kar diya aur profit to Rs. 2 cr kar diya,” he shares.
Filmmaker Suneel Darshan, known for films such as Janwar (1999) and Andaaz (2003) also came in support of Gupta in the same press conference and alleged that he, too, had faced the same issue with Sunny Deol. “Sunny Deol acquired rights from my movie Ajay (1996) for overseas distribution and only made a partial payment. The balance payment never came through,” says Darshan, adding, “Later, Sunny requested me to work on a project with him, saying, ‘Have faith in me, help me out’, and got me to pay him again.”
An industry source, on condition of anonymity, tells us that Deol is notorious for dishonouring commitments with several producers after signing agreements . “He is a known troublemaker for years. Sunny had given a bound script of a film called Ram Janmbhumi to a producer who created a huge set in Mumbai. Sunny signed the film for Rs. 5 cr. But later, he refused to come to the sets and demanded a fees of Rs. 25 cr because he had delivered a blockbuster (Gadar 2, 2023).”
Gupta shares that he has filed a police complaint against Deol “The police issued [Deol] a notice on April 30. His office sent a letter saying he was out of town on the day he was to present himself,” says Gupta.
We reached out to Sunny Deol for his side but were met with no response till the time of going to press.
(R-L) Suneel Darshan, Sorav Gupta and Ashok Sarogi
Suneel Darshan introduces Aayush Kumar, Akaisha, Natasha Fernandez with Andaaz 2
3:58 PM
BOMBAY TIMES (December 14, 2023)
Writer-filmmaker Suneel Darshan, who launched the acting careers of beauty queens Lara Dutta and Priyanka Chopra opposite Akshay Kumar in the 2003 hit Andaaz, is all set to introduce three new faces – Aayush Kumar, Akaisha and Natasha Fernandez – in his next offering Andaaz 2.
The filmmaker says, “Andaaz 2 is quite close to my earlier movie bearing the same title in spirit, yet it is a totally fresh take in all other aspects. It is an entertainer with a glamorous sugar-coating. It also focuses on social, emotional and societal issues with a fantastic original music score rendered by several new-age vocalists. The choreography, too, is brilliant and will surpass my earlier hits. As for the lead trio, it’s exciting to work in the environment and positivity they bring to the screen.”
The movie features original songs composed by Nadeem of Nadeem-Shravan fame and lyrics by Sameer and Nadeem. The choreography is by Raju Khan and Vikas Singh is the executive producer. Andaaz 2 is a Shree Krishna International presentation.
Mumbai cops file FIR against Google’s Sundar Pichai for copyright violation of Suneel Darshan's film
8:24 AM
V Narayan (THE TIMES OF INDIA; January 28, 2022)
Mumbai: A First Information Report (FIR) has been registered on court orders against Google, its CEO Sunder Pichai and five other employees of the company in an alleged copyright violation case on January 25. The MIDC police said the case was registered for allegedly uploading the movie “Ek Haseena Thi Ek Deewana Tha” on YouTube without a contract or consent from the movie’s producer and director.
The complainant has said he was following up with officials of Google and YouTube since 2017 but no action was taken to remove the movie from the platform. Producer-director Suneel Darshan has alleged that he incurred losses in crores as the film was streamed on a digital platform with lakhs of viewers.
Mumbai police spokesperson DCP Sanjay Latkar said the case has been registered based on the court order under the Criminal Procedure Code section 156 (3). Darshan said he filed a complaint before the court as Google did not abide by notices. MIDC police now plans to issue summons to Sundar Pichai (CEO of Google), Gautam Anand (Head of YouTube), Joe Grier (Grievance officer), and three Google employees Namrata Rajkumar, Pawan Agarwal, and Chaitanya Prabhu whose names are in the FIR. TOI is in possession of the FIR.
A Google spokesperson in India told news agency PTI that the company relies on copyright owners to notify it of unauthorized uploads and offers them “rights management tools, such as YouTube’s Content ID system that gives rights holders an automated way to identify, block, promote, and even make money from uploads of their content.”
“When a copyright holder notifies us of a video that infringes their copyright, we remove the content promptly in accordance with the law, and terminate the accounts of users with multiple copyright strikes,” the spokesperson added.
Andheri's additional chief metropolitan magistrate (22nd court) in its order on January 20 said the complainant has recorded illegal use of their film on YouTube for generating hundreds of millions of dollars towards advertising revenue earned through advertisements streamed before, during and after the film.
The complainant had made a CD of the alleged infringement which was produced in court in a pen drive. The court viewed it on a laptop and found a prima facie case of infringement of copyright. The magistrate noted that the complainant had also filed a civil suit before the District Court in Gurgaon.
Shravan Rathod always had the urge to make music-Suneel Darshan
8:24 AM
Suneel Darshan with Shravan Rathod
Filmmakers Suneel Darshan and Mahesh Bhatt pay tribute to the late composer Sharvan Rathod.
Upala KBR (MID-DAY; April 24, 2021)
In my mind, Nadeem-Shravan are always there. The audience appreciation for their music has always been tremendous. We were fans of the Nadeem-Shravan decade of remarkable music through the 1990s’. They went through a turbulent time when Nadeem was among the accused, now acquitted, in the Gulshan Kumar murder case. I first worked with the duo in Ek Rishta [2001]. [Post which], we worked in a string of movies - Haan Maine Bhi Pyaar Kiya [2002] Mere Jeevan Saathi [2006], Andaaz [2003], Barsaat [2005], among others.
While Nadeem handled 100 per cent of the composition from UK, Shravan orchestrated the song, got the vocals prepared and mixed the song in India. My film Dosti: Friends Forever [2005] was their last project together. In Nadeem’s absence, my association started with Shravan. As a creative man, the urge to compose music was always there in him.
-------------------------------
I hear echoes of him humming: Mahesh Bhatt
Filmmaker Mahesh Bhatt who collaborated with Nadeem-Shravan for Aashiqui, Sadak and Sangharsh, with a heavy hearts says, “Shravan left me with the afterglow of his heart-warming smile and the happy memory of those life-soaked days we spent together. I hear echoes of him humming the tunes of Aashiqui in the recording room. Endings are tough. Alas, this is the season of heart-breaking loss.”
Twinkle Khanna didn't watch Housefull 4-Akshay Kumar
8:52 AM
Actor Akshay Kumar on movies and criticism...
Ashwini Deshmukh (HINDUSTAN TIMES; February 23, 2020)
You’ve just given your 11th consecutive hit. Certain sections of your audiences still question you though...
I don’t know about that. I just know that I’ve signed my next four films. Having a job matters. Your company is running. That matters. I have another three films lined-up, which I have to give a go ahead to. (Smiles) So according to me, I’m doing pretty well.
Your films are critic-proof. No matter what, they rake in the numbers…
I respect critics. It’s important to have critics for an honest feedback. Also, comedy is subjective. What you like, the other person may not. My kind of humour is different from that of my wife’s (Twinkle Khanna). Opinions vary. Similarly, one critic’s take may vary from that of the other. Especially, when it comes to comedy.
What was Twinkle’s reaction to Housefull 4?
She didn’t watch it.
Why was there so much negativity around the film?
Those who’ve written the negative stuff would be able to tell why. Main toh unke ghar gaya nahi kabhi. People can say what they want. People can keep talking. It doesn’t matter. What matters are the box-office figures. They alone talk.
A character in Housefull 4 faking pregnancy says, main abla hoon tabla nahin. This was dissed by some sections…
Yes, you’re right. It may not have gone down well. The writer has to take care of such things. I may not be around when some scenes are shot. So I may not know about them.
How difficult is it to pull off a comedy?
It’s difficult to pull off humour when you have to rely solely on physical comedy and keep logic away. Only Charlie Chaplin could do that.
Without dialogue, he could make people laugh. Or even Laurel And Hardy. We’ve grown up watching them. An actor can churn out dialogue and make people laugh. But to make people laugh without words is the toughest.
Do you feel comedy as a genre has been ignored?
I’ve been trying to find the answer to this since the last 30 years. I still don’t have one. Everyone believes comedy’s easy. Ask anyone in Hollywood and they will tell you comedy is the most difficult genre.
Your transformation from action films to the comedy genre… was it a planned process?
It’s not some thought out method. I just go with the flow. I didn’t go to any acting school. I just add what I’ve gained through my own experiences. I tend to hold the director’s hand because he knows the film a thousand times better than me. He leads me and that’s why he’s called the captain of the ship. You can only pray that that ship doesn’t turn out to be a Titanic.
Are you always confident of the choices you make as an actor?
No, I’m not confident ya. My team knows how scared I am before a release. You work hard for months. You have to consider whether the audience/critics will like your film. Gharwalon ka alag tension hota hai... whether they’ll like it or not. You’ve got to handle the PR stress, the studio’s tension...
Which have been your path-defining movies?
Sangharsh (Tanuja Chandra, 2000), Jaanwar (Suneel Darshan, 1999) and Hera Pheri (Priyadarshan, 2000). Priyadarshan saab, Rajkumar Santoshi ji (Khakee, 2004) the late Neeraj Vora (Phir Hera Pheri, 2006) are three people who contributed greatly in making me realise that I could attempt different genres, and mould myself as an actor.
Veeru Devgan will be remembered as an iconic action director, says Bollywood
8:09 AM
Bollywood actors and filmmakers share their fondest memories of Veeru Devgan who helped them pull punches on the screen for almost three decades
Natasha Coutinho, Avinash Lohana, Himesh Mankad (MUMBAI MIRROR; May 28, 2019)
Flying punches, gravity-defying kicks, blood and dhishoom dhishoom, the Bollywood audience of the 1980s and ’90s loved all this, and Veeru Devgan delivered stunts in plenty, stylishly packaged in films like Kranti, Loha, Himmatwala, Khatron Ke Khilaadi, Dilwale and Phool Aur Kaante to compete with the gun-slinging Westerns. On Monday, the action director-turned-producer-director breathed his last in Mumbai. He was 77.
Through the ’70s,’80 s and a sizeable part of the ’90s, Veeru Devgan was the man to go to for action sequences. “He worked systematically, within a budget, with creativity. He’ll be remembered as an iconic action director who always wanted to make a film,” shares producer and distribution partner Suneel Darshan.Boney Kapoor agrees that Veeru ji was among the best in the industry, always ready to try something new, and was in demand for the longest time. “His Hanuman sequence in Mr India is unforgettable while Sanjay’s (Kapoor) ‘test’ on the bridge in Prem was brilliantly executed. The train robbery in Roop Ki Rani Choron Ka Raja still remains way ahead of similar sequences attempted by international stunt coordinators later,” he eulogises.
Gulshan Grover lauds the action director for redefining kicking techniques in Hindi cinema. “Since not everyone is flexible, he made the actor wear trousers and shoes on his hand and punch. This translated as a mighty kick on camera, a trick I incorporated in one of my early Hollywood films, The Second Jungle Book: Mowgli & Baloo,” informs the ‘Bad Man’.Shatrughan Sinha reveals that when they were doing Mere Apne in 1971, while the film’s action director was Ravi Khanna, debutant director Gulzar got Veeru ji to choreograph most of the action. He goes on to confide how the fight master played Cupid for him and wife Poonam on the sets of their film Dharti Ki Godh Mein, spiriting away his future mother-in-law so he could ride away with his lady love during an action scene. He remembers Veeru ji as a disciplined man who fasted twice a week and after he retired, was happy to devote himself to his family.
He was like family for Anil Kapoor who’d walk in and out of his house and gratefully recalls how Veeru ji made action scenes safe and easy for him when he was just starting out as an actor. Jackie Shroff agrees, describing him as an ever-smiling, gentle soul. “He took care of actors like his children and made the biggest action sequences simple for us,” shares Jackie who’s worked with him in Izzat, Police Officer and Doodh Ka Karz.Anil adds, “During shooting, if we ever fell short of money, Boney would unhesitatingly turn to him, he was always there for us. His contribution to Mr India was immense.”
Kumar Mangat whose association with Veeru ji spans 38 years since he was a production manager, reiterates Anil’s claim: “When I turned producer, Veeru ji bailed me out whenever I ran out of money. He didn’t even charge me for the action in Qayamat Ki Raat and after Ajay was launched as an actor, he told me to manage his work.”
For Shakti Kapoor he was a “royal man” who always stayed in five-star hotels when in Chennai or Hyderabad. “And whenever I was there, he’d insist on having dinner together. He was the highest paid action coordinator in India and technically very sound,” he says, recalling Veeru ji telling him to help his introverted son open up before he got into films. “I’m happy he saw Ajay become a superstar.”Ajay’s director-actor buddy, Sajid Khan, remembers how, as teenagers, they’d hang out at his building in the evening. “As soon as Veeru ji arrived, Ajay would go home even if we were in the middle of a cricket match. He pushed Ajay hard because as the best action director’s son, he had to be the best action hero. And till the last day, Ajay respected and cared for him like a good son.”
The memories come flooding for Harry Baweja for whom Veeru ji was a “pillar of support” when he produced and directed his first film Dilwale. “He treated me like a younger brother,” he says emotionally.
Another filmmaker Milan Luthria reminisces how when he had to wait for Ajay’s dates, his father would call him into his cabin and promise to help. “It is unheard for someone to have done over 500 films and never have a disagreement with anyone,” Milan asserts.
Aditya Pancholi recalls the Rs 100 baksheesh he got for fearlessly standing at a high point and jumping on boxes at Madh Fort for an action scene in Dus Numbri while producer-director Rajiv Rai who worked with Veeru ji in Tridev points out that the ’80s were tough times for action directors because of the lack of CGI and VFX. “But there were seldom any accidents on his sets. He was the Amitabh Bachchan of action, he worked with many cameras and I learnt a lot about technique from him,” Rai remembers from London.
Anees Bazmee who’s returned from the shoot of Pagalpanti in London, flashbacks to how in the ‘90s, when films had three-four busy heroes, Veeru ji helped resolve date issues and when that was not possible, would shoot with actors separately in a way that the audience didn’t realise it. “He was brilliant!” raves the writer-director.
Debutant Soni Kaur flies down to India to promote film Ek Haseena Thi... on her own money; says Suneel Darshan went AWOL
7:46 AM
Mohar Basu (MID-DAY; July 4, 2017)
Bollywood is popularly considered an unkind industry, but Brit-born Indian actress Soni Kaur, who debuted with last week’s release Ek Haseena Thi Ek Deewana Tha, claims she learnt this the hard way. The actress was promised “a massive launch” by filmmaker Suneel Darshan when he signed her on for the romantic thriller.
Kaur tells mid-day, “Suneel Darshan contacted me in October last year and I flew down to meet him. Soon after, he brought me on board to play Rita.” However, things went awry soon after the shoot was wrapped up. Kaur alleges that she stopped hearing from the filmmaker since the trailer launch. What made matters worse was that she was not even flown down for the premiere, as she was promised earlier. “I was informed about the film’s premiere only when I managed to get in touch with the production team. When they refused to book a ticket, I flew down for the event at my own expense.”
Kaur goes on to add that Darshan has been avoiding her ever since she came down to the city. “I’ve been here for a week and have repeatedly tried to get in touch with him, but he has stopped responding to my calls or messages. I have also watched the film, and most of my scenes have been chopped off. This isn’t what we’d agreed upon.”
Darshan had a different tale to tell. “She has a total of four dialogues in the film, why should I promise her a grand launch? And who I call for my film’s premiere, is my prerogative. As per our agreement, she isn’t allowed to speak to the press either. Clearly, she is doing all this for her two minutes of fame. I have done no wrong. She has been given whatever the contract promised her. As for her claims of me avoiding her, I have a legitimate office space in the city. She can take an appointment to come see me.”
Struggle is a subjective word. I come from a film family, but I had my struggles, too-Shiv Darshan
7:56 AM
Rachana Dubey (BOMBAY TIMES; June 25, 2017)
After a turbulent start,
second chances are difficult to come by in show business, even for those
who belong to the industry. Shiv Darshan hasn't had it easy either.
His first film Karle Pyaar Karle (2014) didn't fare well at the box
office, which forced him to take a step back and think over his next
move. A week away from the release of his next film, Ek Haseena Thi Ek
Deewana Tha, which is also his home production, the actor talks to BT
about second chances, nepotism and why he doesn't have a Plan B.
Excerpts...
After a shaky start with Karle Pyaar Karle, does the fate of your upcoming film worry you?
I don't want to think too much about what lies ahead. It's a big responsibility to be from a film family because people expect a lot from you. Box office success does matter, but many big actors like Amitabh Bachchan and Ranbir Kapoor have had shaky starts. And look where they are today. Thinking about what will happen if my film doesn't work will only add to my insecurities. There are actors whose films have never released; I'm lucky that mine is at least releasing. I have seen dad's (Suneel Darshan) films like Andaz and Ek Rishtaa being written off before release, but they went on to become hits.
Second chances are not easy to come by in the industry. The common perception will be that you got one rather easily because you are Suneel Darshan's son...
Being from a film family has its pros and cons. The biggest drawback is that you are penalised for landing opportunities with relative ease. However, what people don't see is that eventually, it's your ability as an actor that will take you far. Even after my shaky start, I had offers, but despite the great content, I couldn't relate to them. So, I let them pass.
Nepotism has always been a talking point. It raked up a storm a few weeks ago too...
(Cuts in) I do agree that it's a plus that I am a filmmaker's son and getting to act in films is a privilege. But if people think that I got my second chance easily, I can't help it. Let people say what they have to. Struggle is a subjective word. I come from a film family but I had my struggles, too. I wasn't a lean-bodied person; I was obese. I had to lose weight and work on my body and diction.
Did you ever want to take a chance at filmmaking?
Direction and production are tough jobs and I don't think I am ready just yet. I had always wanted to be in the industry. I contemplated being a producer and even a distributor, but when I shot as a leading actor's body double in my father's film at the age of 16, I realised that acting is my destiny. Since then, I started working on myself with the intention of being an actor. Over the years, I have done many passing shots in my dad's films. As an actor, I can lead multiple lives, which I can't do in any other profession. While I agree that assisting my father would have helped me understand the profession better, I think my entry has been smooth even without it.
Do you worry about the competition in the industry?
I am my only competition. I am not trying to brag and sound arrogant. There is a lot of talent out there, but I want to be a better version of myself. I work with blinkers on. I appreciate everyone's work, but it doesn't rattle me.
Over the last few years, your father has seen a low phase in his career. Has that affected you deeply?
Dad has never been affected by that. He has never let us feel that he is going through a professional lull. He believes in pulling up his socks and getting on with life. He has also taught me to be patient and persistent. Sometimes, things may or may not happen overnight, but if you work towards it, you will get somewhere in life.
The portrayal and presentation of romance has changed in our movies. Do you think people will be able to relate to Ek Haseena Thi Ek Deewana Tha?
Today, stories are told with a touch with realism. Escapism is what gives you hope and it is something that has always worked. I think they will relate to our wholesome entertainer.
Do you have a plan B?
There is no plan B for me. I only work on plan A and that is being an actor in films.
After a shaky start with Karle Pyaar Karle, does the fate of your upcoming film worry you?
I don't want to think too much about what lies ahead. It's a big responsibility to be from a film family because people expect a lot from you. Box office success does matter, but many big actors like Amitabh Bachchan and Ranbir Kapoor have had shaky starts. And look where they are today. Thinking about what will happen if my film doesn't work will only add to my insecurities. There are actors whose films have never released; I'm lucky that mine is at least releasing. I have seen dad's (Suneel Darshan) films like Andaz and Ek Rishtaa being written off before release, but they went on to become hits.
Second chances are not easy to come by in the industry. The common perception will be that you got one rather easily because you are Suneel Darshan's son...
Being from a film family has its pros and cons. The biggest drawback is that you are penalised for landing opportunities with relative ease. However, what people don't see is that eventually, it's your ability as an actor that will take you far. Even after my shaky start, I had offers, but despite the great content, I couldn't relate to them. So, I let them pass.
Nepotism has always been a talking point. It raked up a storm a few weeks ago too...
(Cuts in) I do agree that it's a plus that I am a filmmaker's son and getting to act in films is a privilege. But if people think that I got my second chance easily, I can't help it. Let people say what they have to. Struggle is a subjective word. I come from a film family but I had my struggles, too. I wasn't a lean-bodied person; I was obese. I had to lose weight and work on my body and diction.
Did you ever want to take a chance at filmmaking?
Direction and production are tough jobs and I don't think I am ready just yet. I had always wanted to be in the industry. I contemplated being a producer and even a distributor, but when I shot as a leading actor's body double in my father's film at the age of 16, I realised that acting is my destiny. Since then, I started working on myself with the intention of being an actor. Over the years, I have done many passing shots in my dad's films. As an actor, I can lead multiple lives, which I can't do in any other profession. While I agree that assisting my father would have helped me understand the profession better, I think my entry has been smooth even without it.
Do you worry about the competition in the industry?
I am my only competition. I am not trying to brag and sound arrogant. There is a lot of talent out there, but I want to be a better version of myself. I work with blinkers on. I appreciate everyone's work, but it doesn't rattle me.
Dad has never been affected by that. He has never let us feel that he is going through a professional lull. He believes in pulling up his socks and getting on with life. He has also taught me to be patient and persistent. Sometimes, things may or may not happen overnight, but if you work towards it, you will get somewhere in life.
The portrayal and presentation of romance has changed in our movies. Do you think people will be able to relate to Ek Haseena Thi Ek Deewana Tha?
Today, stories are told with a touch with realism. Escapism is what gives you hope and it is something that has always worked. I think they will relate to our wholesome entertainer.
Do you have a plan B?
There is no plan B for me. I only work on plan A and that is being an actor in films.
My father tells me everyday, 'Bete, ghar aaja. Do din ke liye aake mujhe dekh to le'-Nadeem Saifi
7:51 AM
Rachana Dubey (BOMBAY TIMES; June 9, 2017)
It's been over 17 years
since Nadeem - of the famous composer duo Nadeem-Shravan - left India,
after being accused of T-Series founder Gulshan Kumar's murder. Though
living in exile, first in the UK and now in the UAE, he says that he is
in tune with Bollywood's ever-changing music scenario. In a chat with
BT, the music director, who is back with Suneel Darshan's Ek Haseena Thi
Ek Deewana Tha, spoke about his life away from India, the filmmakers
who've supported him in his years of turmoil and how he would give up
anything to return home to his ailing parents. Excerpts...
You have been away from India since 2000. How do you stay abreast of the changes in the music industry?
I am passionate about music and I always make an effort to stay abreast of the developments in the industry. If you listen to the songs of films like Dabangg, you'll realise that those compositions are somewhat in the space Shravan and I had created. So, I may not be in India physically, but my style of composing has never gone out of fashion (laughs). And it's not just about composing; I watch a lot of music reality shows on Indian television, and the talent blows my mind. It inspires me to create a platform for these youngsters to build their career. As I said, I am very much in touch with what's happening.
You have been away from India since 2000. How do you stay abreast of the changes in the music industry?
I am passionate about music and I always make an effort to stay abreast of the developments in the industry. If you listen to the songs of films like Dabangg, you'll realise that those compositions are somewhat in the space Shravan and I had created. So, I may not be in India physically, but my style of composing has never gone out of fashion (laughs). And it's not just about composing; I watch a lot of music reality shows on Indian television, and the talent blows my mind. It inspires me to create a platform for these youngsters to build their career. As I said, I am very much in touch with what's happening.
What's your take on how Bollywood music has evolved over the years?
We have some very talented composers, but they don't display consistency in their work; they do one or two good films and slip into oblivion. They need to be more out there, doing multiple albums on their own. Pritam is one of the best composers in this generation, but he doesn't go beyond two-three albums a year. Baaki 200 albums ka kya hoga? Every album deserves a good composer. Also, most films have seven, eight and sometimes even 10 composers. It means that we either lack capability or we lack the confidence to do an entire album on our own.
Let's rewind. You had stopped working after leaving India. How did you start composing all over again?
I was eager to get back to work, and I found some genuine friends in the industry. I have worked hard to stay connected with my country and the audience. It has been a hard battle. I have to admit that initially, it was a task to record the songs. I had no idea of how the internet worked or how to record songs using online tools. With time, however, I became attuned to the technology.
Suneel Darshan was among the filmmakers who didn't give up on you. You've composed for nearly all his films in recent years, including his upcoming film. What is his brief to you and how much time does he give you to create the score?
When Suneelji explains a song's context to me, he reminds me of filmmakers like Raj Kapoor, who knew what they wanted their tracks to convey. I have worked with 150 filmmakers and created over 1,000 songs, but he's one person who has played a major role in my career. I have immense respect for him, he showed the courage to work with me when no one else did. I remember, he had given me a single night to come up with the score for Ek Rishtaa: The Bond Of Love (2001).
You may have been out of sight, but you are definitely not out of mind as far as the industry is concerned...
It's like my family. Rakesh Roshan and Jeetendra visited me recently. I regularly chat with Rishi Kapoor. In fact, I try and keep in touch with everyone who wants to stay in touch. Whenever someone I know from the industry travels to the UAE, they make it a point to call, and if possible, even visit me. I'm sure the only reason I don't get as many films as before is that I am not in India.
Did you miss your partner Shravan in all these years?
For me, we're still like brothers and I miss him. We were very close, but we drifted apart. It happens with so many close relationships. We couldn't help our circumstances. He was trying to build his sons' career. And when I was away, grappling with life, he took up albums and started composing on his own. Slowly, I moved on, too. Even today, we occasionally send out greetings to each other. And if an opportunity ever arises, I'd be the first one to say 'yes' to team up with him.
So, what stops you from coming back?
If I am assured absolutely no foul play, I'd run to the airport now in my pyjamas. India is my home, I have ailing parents there. My father speaks to me every single day and says, 'Bete, ghar aaja. Do din ke liye aake mujhe dekh to le.' Imagine my plight, I can't fulfill his wish. I'm broken inside, but I am a fighter and I will continue to fight. I have urged our Prime Minister Narendra Modi through several channels, saying that my innocence was proven in court. Why then do I have to go through this grind? I have nothing to hide, I was never afraid. Gulshanji (Gulshan Kumar) was my brother. I used to call him Papaji out of respect. Boney Kapoor is witness to our last meeting. I was flying out and I had requested him to procure some music for me, which he did. His demise hurts me the most. It left a void and changed the course of my life. I belong to India and I don't leave any chance to knock at any door that can bring me home. Maybe, in this lifetime, I will get to see India once more.
We have some very talented composers, but they don't display consistency in their work; they do one or two good films and slip into oblivion. They need to be more out there, doing multiple albums on their own. Pritam is one of the best composers in this generation, but he doesn't go beyond two-three albums a year. Baaki 200 albums ka kya hoga? Every album deserves a good composer. Also, most films have seven, eight and sometimes even 10 composers. It means that we either lack capability or we lack the confidence to do an entire album on our own.
Let's rewind. You had stopped working after leaving India. How did you start composing all over again?
I was eager to get back to work, and I found some genuine friends in the industry. I have worked hard to stay connected with my country and the audience. It has been a hard battle. I have to admit that initially, it was a task to record the songs. I had no idea of how the internet worked or how to record songs using online tools. With time, however, I became attuned to the technology.
Suneel Darshan was among the filmmakers who didn't give up on you. You've composed for nearly all his films in recent years, including his upcoming film. What is his brief to you and how much time does he give you to create the score?
When Suneelji explains a song's context to me, he reminds me of filmmakers like Raj Kapoor, who knew what they wanted their tracks to convey. I have worked with 150 filmmakers and created over 1,000 songs, but he's one person who has played a major role in my career. I have immense respect for him, he showed the courage to work with me when no one else did. I remember, he had given me a single night to come up with the score for Ek Rishtaa: The Bond Of Love (2001).
You may have been out of sight, but you are definitely not out of mind as far as the industry is concerned...
It's like my family. Rakesh Roshan and Jeetendra visited me recently. I regularly chat with Rishi Kapoor. In fact, I try and keep in touch with everyone who wants to stay in touch. Whenever someone I know from the industry travels to the UAE, they make it a point to call, and if possible, even visit me. I'm sure the only reason I don't get as many films as before is that I am not in India.
Did you miss your partner Shravan in all these years?
For me, we're still like brothers and I miss him. We were very close, but we drifted apart. It happens with so many close relationships. We couldn't help our circumstances. He was trying to build his sons' career. And when I was away, grappling with life, he took up albums and started composing on his own. Slowly, I moved on, too. Even today, we occasionally send out greetings to each other. And if an opportunity ever arises, I'd be the first one to say 'yes' to team up with him.
So, what stops you from coming back?
If I am assured absolutely no foul play, I'd run to the airport now in my pyjamas. India is my home, I have ailing parents there. My father speaks to me every single day and says, 'Bete, ghar aaja. Do din ke liye aake mujhe dekh to le.' Imagine my plight, I can't fulfill his wish. I'm broken inside, but I am a fighter and I will continue to fight. I have urged our Prime Minister Narendra Modi through several channels, saying that my innocence was proven in court. Why then do I have to go through this grind? I have nothing to hide, I was never afraid. Gulshanji (Gulshan Kumar) was my brother. I used to call him Papaji out of respect. Boney Kapoor is witness to our last meeting. I was flying out and I had requested him to procure some music for me, which he did. His demise hurts me the most. It left a void and changed the course of my life. I belong to India and I don't leave any chance to knock at any door that can bring me home. Maybe, in this lifetime, I will get to see India once more.
Suneel Darshan to end his sabbatical with musical mystery Ek Haseena Thi Ek Deewana Tha
7:48 AM
BOMBAY TIMES (March 4, 2017)
Filmmaker Suneel Darshan,
who is close to completing three decades as an independent producer and
director, is all set to roll out his next, Ek Haseena Thi Ek Deewana Tha
(EHTEDT).
The film is a musical mystery featuring Suneel's son Shiv Darshan, Upen Patel and debutante Natasha Fernandes. “I'm directing a film after a sizeable gap,“ says the filmmaker, adding, “I realised that I have to make a film keeping in mind the present times and yet, keep the concept timeless. That's when I scripted EHTEDT.“
Since music has always been an integral part of his ventures, Suneel has ensured that the soundtrack of his new film lives up to expectations. “I started work only after my composer Nadeem (of Nadeem-Shravan fame) created some fascinating scores for me,“ he says.
About his film's title, he says, “EHTEDT suits the subject of the film and coincidentally, closely resembles the lines of Subhash Ghai's legendary song from Karz.“ A sizeable chunk of the film was shot across the United Kingdom, over a 50-day schedule.
Post EHTEDT, which is scheduled to release this summer, Suneel is planning to start work on two more projects. Over the years, he has worked with top stars and made films like Jaanwar (1999), Ek Rishtaa: The Bond of Love (2001), Andaaz (2003), Haan Maine Bhi Pyaar Kiya (2002), Talaash: The Hunt Begins (2003), Lootere (1993), Ajay (1996) and Dosti: Friends Forever (2005), among others, under his banner, Shree Krishna International.
The film is a musical mystery featuring Suneel's son Shiv Darshan, Upen Patel and debutante Natasha Fernandes. “I'm directing a film after a sizeable gap,“ says the filmmaker, adding, “I realised that I have to make a film keeping in mind the present times and yet, keep the concept timeless. That's when I scripted EHTEDT.“
Since music has always been an integral part of his ventures, Suneel has ensured that the soundtrack of his new film lives up to expectations. “I started work only after my composer Nadeem (of Nadeem-Shravan fame) created some fascinating scores for me,“ he says.
About his film's title, he says, “EHTEDT suits the subject of the film and coincidentally, closely resembles the lines of Subhash Ghai's legendary song from Karz.“ A sizeable chunk of the film was shot across the United Kingdom, over a 50-day schedule.
Post EHTEDT, which is scheduled to release this summer, Suneel is planning to start work on two more projects. Over the years, he has worked with top stars and made films like Jaanwar (1999), Ek Rishtaa: The Bond of Love (2001), Andaaz (2003), Haan Maine Bhi Pyaar Kiya (2002), Talaash: The Hunt Begins (2003), Lootere (1993), Ajay (1996) and Dosti: Friends Forever (2005), among others, under his banner, Shree Krishna International.
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