A theatre actor noticed for his role in Pataal Lok, says it's when he spent days with officers who operate on the fringes of Delhi, that a believable character took shape
Aastha Atray Banan (MID-DAY; May 31, 2020)

To prep for his role as young police officer and IAS aspirant Imran Ansari in the recently dropped web series Pataal Lok, which is centred around the team at the fictional police station of Jamna Par in New Delhi, Ishwak Singh says he had to literally cross the Yamuna. "These areas are referred to as the outer districts… places like Mangolpuri, where the crime rate is very high. I hung out there, made friends with the cops and saw what their daily life was like. Most of them end up tackling 100 cases each. You begin to empathise with them, you know [what they do] is difficult. When they shared their stories, the details of their interrogations, that's where Ansari was born."

Singh, who is trained in theatre, says the method seems to have worked, with the entertainment circuit calling him the new "find". His phone has been ringing off the hook, with calls and messages from fans and seniors who matter. He thinks Ansari stands out because he represents the good in a story that's centred around greed, corruption and disillusionment, within the media, the police force and society in general.

But this journey to attention has taken a while. Singh's first big break was Hansal Mehra's 2015 film, Aligarh. He is philosophical about the right break. "It's all about doing it well; I would've waited 15 years if needed," he says. The Delhi resident had studied to be an architect like his brother, but couldn't get the urge to act out of his head. "An actor just knows! But I was far removed from this world. I was scared to even say that I wanted to do it."

After college, he signed up for a weekend acting workshop and took up small roles. It was at Asmita Theatre Group, that he came into his own, and after someone noticed him during a stage performance, he received a call from Yash Raj Films. "That role didn't work out, but then I met Mukesh Chhabra [casting director], Aligarh happened, and then Tamasha." Singh then went back to theatre, because he knew that to hone his craft he had to continue to act. "I started to look at it seriously—as a profession. The more you do it, the better you get. I played the same character again and again; that's how you develop techniques and characters."

It came in handy when developing Ansari, the positive and upbeat Muslim cop. "He has to be right. He is a member of a minority community, and has to keep the larger picture in mind. He can't afford to slip into cynicism. He is not in his comfort zone as a young Muslim police officer. He has to keep going and prove himself, much the way I'm trying to do in Bollywood."

Having been termed crush-worthy on Instagram, means he may be the new flavour of the season. Singh is enjoying it because "without the audience, we are nothing".

Onkar Kulkarni (BOMBAY TIMES; February 12, 2020)

Arushi Sharma, who was last seen in Imtiaz Ali’s Tamasha (2015), will reunite with the director in his upcoming romance, Love Aaj Kal. The movie, starring Sara Ali Khan and Kartik Aaryan in the lead, showcases two love stories — one set in the 90s in Udaipur and the other, set in modern-day Delhi. Arushi plays Kartik’s love interest in the former.

Interestingly, the first scene that she shot for the film required her to deliver a monologue. That,too, in the presence of Kartik, who is known for his monologue in the Pyaar Ka Punchnama series. She recalls, “I was nervous, as I had to deliver a monologue with an actor, who is known for his monologue skills. I felt that I won’t be able to remember my lines, but he made me comfortable and helped me perfect the scene.”

Ask her why she took a break after Tamasha and Arushi says that she gave several auditions for other filmmakers, but was rejected. And then, she received a call from Imtiaz’s team for this film. Talking about her first meeting with the filmmaker, the Shimla girl says, “The first time I met Imtiaz sir was when he had come to my college for a recce. He then approached me for Tamasha, and during the course of the shoot, I realised that I wanted to pursue acting. However, I did not want to quit engineering and so, I continued with my studies and would come to Mumbai only for auditions. With my second film, I feel like I am living a dream. I hope people love and appreciate my work.”

About her experience of working with Imtiaz and Kartik, Arushi shares, “I love the way Imtiaz sir improvises a scene. The scene that comes to my mind is the one shown in the trailer — Kartik and I are at a fort and a security guard is rude to us. Imtiaz sir suggested a lot of on-the-spot changes to that scene. In the movie, Kartik and I portray the couple from ‘kal’ and their chemistry is very different from the lovers of ‘aaj’. That kind of romance doesn’t exist anymore; love is more practical these days. I am sure Imtiaz sir would have romanced in a similar way (laughs!). As far as Kartik is concerned, I am thankful to him for making me comfortable on the sets. He helped me understand the technicalities and pushed me to do better. I shot with Kartik for a month and he has been a very supportive and caring co-star.”

Jio Studios, Dinesh Vijan and Reliance Entertainment present Love Aaj Kal, a Window Seat Films and Maddock Films production. It releases worldwide on February 14.

Shimla girl Arushi Sharma, Imtiaz Ali’s latest discovery, on her serendipitous journey from Tamasha to the Kartik Aaryan and Sara Ali Khan-starrer
Himesh Mankad (MUMBAI MIRROR; January 29, 2020)

In 2009, Imtiaz Ali introduced Giselli Monteiro with his Saif Ali Khan and Deepika Padukone-starrer Love Aaj Kal. The Brazilian model-turned-actress played Harleen Kaur, love interest to Saif’s second character in the film. Ten years on, the filmmaker is ready to launch another fresh face. The new Love Aaj Kal, fronted by Sara Ali Khan and Kartik Aaryan, is Arushi Sharma’s first film as a leading lady after a cameo in Imtiaz’s 2015 rom-com, Tamasha.

The 24-year-old former engineering student says that acting wasn’t in her plans. “I am from Himachal Pradesh, which doesn’t have an active theatre scene,” she explains, adding that Imtiaz was in her college in Shimla for recce for Tamasha. She auditioned for the part of Sanjukta and that’s when the acting bug bit her. “Engineering colleges are usually boring. I became popular after working with Ranbir Kapoor,” Arushi smiles.

After her first taste of showbiz, the aspiring actress started sending out recordings of her performances to casting directors. In February last year, she got a call from Mukesh Chhabra’s office. “I auditioned in Delhi and within 15 days, I was brought on-board Love Aaj Kal. The shoot was to begin within a month and suddenly, I had this huge mountain to climb,” she recalls.

Arushi had watched the original but refrained from revisiting it so she could approach the new script with a fresh mindset. “It’s a beautiful story. Every character has their own charm, conflict and are different, not just from each other but also from the previous film,” she asserts.

Her track is set in the ’90s and to prep for her part of Leena, the actress watched Qayamat Se Qayamat Tak and Maine Pyar Kiya. “I didn’t want to load myself with too much information, so I just watched these two films to understand love from that era,” she says. And what was the biggest takeaway from the two films? “They were slightly over-the-top for me initially; we don’t watch such films anymore. I had to unlearn everything and appreciate what they were doing on screen. Then I started to enjoy their innocence,” she sighs wistfully.

As a co-star Kartik was extremely friendly on the film set and made her feel comfortable. “Even he is an engineer, it was like meeting an old buddy. He is an actor who is always trying to improve his craft and a good co-star who elevated my performance, too. He can stay focused even in chaos, I can’t,” she shares. While she doesn’t have any scenes with Sara in the film, they did shoot for a song together. “She has a lot of energy, is involved in every aspect of filmmaking.”

Arushi is bracing herself for the competitive industry, which has recently witnessed the launch of Janhvi Kapoor, Sara, Ananya Panday and Tara Sutaria. “I stalk them on Instagram all the time. Everyone is working so hard to create their own identity. It’s difficult to know who you are at such a young age,” she reflects.

Next up, she is preparing her wish-list of co-stars. “I would love to work with Ranveer Singh, Ranbir Kapoor and Ayushmann Khurrana. Alia Bhatt, too, is a favourite,” Arushi concludes.
-----------------------------

Newcomer Arushi Sharma recounts how a scene in Tamasha helped her bag Imtiaz's next
Mohar Basu (MID-DAY; January 29, 2020)

You can hear a sense of wonder in her voice as Arushi Sharma acknowledges that a fleeting scene in Tamasha (2015; right) changed her life. An IT engineer by education, the youngster made a brief appearance as Princess Sanjukta in the song Chali Kahani, in the Imtiaz Ali-directed venture. Cut to five years later, she finds herself romancing Kartik Aaryan in the filmmaker's next, Love Aaj Kal.

"I shot for that film five years ago, and had tasted blood [after the cameo]. I went up to him and told him I would love to do movies. Even though I subsequently got a nine-to-five job in Gurgaon, I had an alternate life at home. I would get home from my job and make audition tapes," shares Sharma. When she was called for an audition to Delhi last February, little did she know that she would find herself face-to-face with Ali again. "At the audition, I saw this curly-haired, tall man. It turned out to be Imtiaz sir. I got locked for the part 10 days later."

The February 14 release offers two love stories — while the present-day story features Sara Ali Khan and Aaryan, the '90s romance has Sharma play an Udaipur girl. Considering Aaryan and Khan's chemistry is being much talked about, did she feel intimidated about rubbing shoulders with them? "On the first day of the shoot, I had a bigger challenge — to do a good job as an actor because such opportunities don't come easy to any actor, let alone a newcomer. So, I kept calm and did not get swayed by the noise around. Sara and Kartik are professionals. We derived our energy from Imtiaz sir who was clear about what he expected from us."
-----------------------------
Prashant Singh (HINDUSTAN TIMES; January 29, 2020)

She is a certified engineer who studied in Waknaghat, Himachal Pradesh. And the newbie, Arushi Sharma, who is readying for her full-fledged debut with Imtiaz Ali’s Love Aaj Kal, shows a glimpse of it right at the start of the conversation by bringing up electrons. “Shooting for the film seemed like work. But now, it’s like an electron that starts to collect energy and shoots to the next level,” says the young actor, whose parents are judges and uncles are government officials. “That’s why sometimes, I wonder, ‘is my family really proud of me (about becoming an actor) or are they hiding their feelings (laughs)?” she says. Excerpts from an interview:

You are a true-blue Imtiaz Ali discovery (he cast her in small role in Tamasha, 2015, after his team spotted her in the college). Does that put any pressure on you?
I don’t think so. When I got the part in Tamasha, I didn’t know shooting mein kya hota hai. So, I was like, ‘jab shoot pe jaate honge tab bahut pressure hota hoga’. But there was none. Everything flowed effortlessly. Even during Love Aaj Kal, I didn’t feel any pressure. I don’t know why and how. It’s definitely because of Imtiaz sir and the way he directs and keeps things so simple. I feel when you go simple, you are being yourself and that’s the best thing. And I am happy with the tag of being Imtiaz Ali’s discovery. And if people are putting that pressure, I’m happy to take it because that’s how I would be able to bring out something good.

You were spotted by Imtiaz’s team in your college in Shimla, and now you are his lead star. Has it all been dream-like?
I do feel that it’s a dream (smiles). Sometimes, when I would get nervous on the set, and feet that I am not doing something correctly, Imtiaz sir would say, ‘Think of it as a dream Arushi’. After Tamasha, I felt that magic and the feeling is still with me. It all feels like a fairy tale, to be honest. Coming from Shimla to Mumbai, is something I had wished for. I feel really blessed that it has happened in my life.

Since Tamasha, how has your journey been? What were you doing after that film?
In the meantime, I finished my engineering. And while I was in college, I started giving auditions. And I would always ask [Imtiaz] sir if there’s any opportunity in any of his films in the future, and that I would love to do it. He gave me (casting director) Mukesh Chhabra’s number and asked me to be in touch with him. After my college got over, I started working. But I continued to give auditions. Although I wanted to be an actor, you also have to be practical about it. I never had the guts to leave everything and come to Mumbai because it seemed impractical to me. In this journey, I have learnt more about myself, more than anything. I never thought that I am this brave and patient. So, that way, it’s been a learning experience.

How was your co-star, Kartik Aaryan to work with?
He is so full of life and a fun-loving person. He is so involved, friendly and supportive that it feels really good. I was initially a bit scared but he made me feel comfortable. Also, initially, I wasn’t able to focus on the right things. But then, I started observing him, and learnt that everything is chaotic around you but you have to be focused. I think he does it so well, and I tried to emulate that. He helped with the technical aspects of acting as well.

Do you have any future plans in your head?
I think I do have a vague idea about what I want to do but I think this film is going to decide a lot of things for me. For me, people’s reactions as well as industry’s response really matters a lot. I want to note down what they say and how they feel about me, because I am not an actor. Once the film releases, I think I am going to write a thesis (laughs). Right now, I just want to be patient and see how things go.

Were you always a filmi girl? Any favourites?
I used to love dancing at birthday parties and all, but I was never really a film buff. I started to watch films seriously when I was in college. Kajol is my favourite. Even in the phase of ‘over-acting’, she was very real. Now, it’s Alia Bhatt and Deepika Padukone. But I love Alia a little more. Ranveer is also amazing as the kind of versatility he has shown of late is difficult and amazing. Ranbir Kapoor is also a favourite. His eyes are so intense.

Prashant Singh (HINDUSTAN TIMES; January 22, 2020)

Don’t be surprised if you spot Sajid Nadiadwala at a piano class soon. Well, the filmmaker has all the reason to sign up for one as he is now the proud owner of a classy grand piano, which has been gifted to him by a special person — music maestro A R Rahman.

“Not many know that Sajid and Rahman share a special bond. They first met during the making of Highway (2014) and the former found it a great experience working with the latter. In fact, Sajid, who produced Highway, still remembers that though the story didn’t have much scope for music but it was Rahman’s mastery that the film ended up having a melange of some beautiful tracks,” says an insider. Later, the two also went on to team up on the Ranbir Kapoor and Deepika Padukone-starrer Tamasha (2015).

Coming to the piano, since Sajid loves music and has a great ear for it, he was thrilled when Rahman, unexpectedly, dropped in to his office with a special gift — a classy, bright-red grand piano. “What made things even more special is the fact that Rahman personally came with the gift. It goes without saying that Sajid was extremely thrilled and elated to see him and was touched with such a thoughtful gift. Rahman got the piano especially from the US. It was an emotional moment for Sajid because he is extremely fond of Rahman and also has a lot of respect for him as well as his talent,” says the insider.

Now that he has the piano, Sajid, who is equipped to play the guitar, plans to take the piano lessons as well. When contacted, an ecstatic Sajid told us, “I feel extremely overwhelmed accepting Rahman’s token of love, and respect towards me. I just want to thank him a lot for such a beautiful piano and hopefully, I’ll learn to play it soon.”

As told to Himesh Mankad (MUMBAI MIRROR; July 2, 2019)

When I was just a kid, dad would play a cassette before going in for shower. The first song was “O O Jaane Jaana” from Salman Khan’s Pyaar Kiya To Darna Kya, followed by the Hum Kisi Se Kum Nahin chartbuster “Kya Hua Tera Vaada”. He would often perform on the songs and I would try a few moves of my own too.

The shower dances led to birthday parties and weddings. I was, otherwise, a shy kid but when I was grooving I broke free of my inhibitions. My parents observed this but never pushed me into pursuing dancing professionally. We come from a middle-class family and our dreams were rooted in reality.

Dad is a Chartered accountant and the family thought that was a safe career choice for me. I appeared for CPT (the CA entrance exam) but on the side, I was doing theatre when in college. I can’t explain but some kind of energy was always pulling me towards acting. So, I was acting in plays and even co-writing a few while studying for the exams. I used to attend CA classes from 7 am to noon, and from 2 pm to 5 pm I would be at rehearsals, returning home to revise my syllabus and my dialogue before going to bed. Since I was in the cultural department, attendance was never an issue, and anyway Bachelor of Commerce is an easy stream for someone doing CA.

I had to quit theatre because IPCC (CA, second level) required me to study 14 hours a day. I wanted to finish the course as soon as possible and start acting again so I focussed single-mindedly on academics. I cleared both groups in the first attempt, scoring 426 marks, just 20-30 marks short of getting a rank.

After IPCC, I had to do articleship for two-and-a-half years. I got into a firm but after a couple of months, I felt like taking a break and getting back to the stage. I entered and won the fresh face competition but then it was time to start prepping for my CA final exams. When you are featured in the front page of a newspaper and winning laurels in acting for your college, Mithibai, at inter-collegiate festivals like Umang and Malhar to name a few, it’s difficult to switch gears. Still, I enrolled myself for CA classes even though my heart was not in it. But after attending classes for three days, I decided I had had enough. I didn’t want to continue with CA.

I’d become like Ranbir Kapoor’s character in Tamasha so dad let me go for auditions with my theatre friends. I went for a lot of them and every audition was a learning experience. Initially I didn’t even know how to look into the camera. But slowly, I trained myself and polished my skills. There was a time when I was this pseudo pretentious artiste who wanted to do an art film. But slowly, I realised where the audience’s interest lay and took the jump towards commercial cinema.

I had always planned on becoming a hero, but I took a different route. I was offered a three-film contract by one of the best production houses in India, but I didn’t feel they were the right films for me so I turned them down. My parents were aghast, wondering if I’d gone mad!

My struggles continued and after several rounds of audition, Inside Edge happened. Everyone agreed it was brilliant casting and the producers of the show Farhan (Akhtar) sir and Ritesh (Sidhwani) sir specifically asked me not to undersell myself, promising me something big soon. At the success party, I spotted Zoya (Akhtar) and since I had nothing to lose, I asked the DJ to play “Gallan Goodiyaan” from her film Dil Dhadakne Do. I then walked up to her and requested her to come with me on the dance floor. Everyone, and that includes Zoya herself, was shocked by my audacity, but honestly, I had no other way to catch her attention. She was impressed by my confidence and called me to audition for Gully Boy.

I didn’t know how to rap but had a sense of poetry and rhythm. So, I wrote my own rap song detailing my struggle and crooned it during the audition. The next day, Ritesh sir called me to say, “You are on board.”

Soon after, I started workshops with Zoya. She groomed me and I started writing my own songs, becoming a rapper in the process. And that’s how bathroom dancer Siddhant Chaturvedi who had once set out to become a Chartered accountant like his dad, went on to become MC Sher, sharing the journey with Ranveer Singh and Alia Bhatt. Sometimes even dreams that are mere fantasies come true.

In 11 years, the Chhapaak actress’ equation with the khandaan has done a 360-degree turn. And, it’s all for the better
Meena Iyer (DNA; May 17, 2019)

Circa 2008. Deepika Padukone was good friends with Ranbir Kapoor. She often spent time with the Saawariya boy at his residence, Krishna Raj on Pali Hill. Her equation with his parents, Neetu and Rishi Kapoor, at that point was starched (kadak). The seniors were as warm to her as they were to their son’s other pals, who hung out at their bungalow.  However, they definitely maintained a distance.

Fast forward to 2010: Deepika and Ranbir stopped being good friends and the Kapoors also saw little of her. The equation worsened when the former and Sonam K Ahuja took a dig at RK junior on an episode of Koffee With Karan. The seniors were  hurt because DP and Sonam openly slighted their son on national television.

But, time is a great healer.

DP moved into a committed relationship with Ranveer Singh, just like Ranbir moved on with his life and girlfriends. And being the perfect goodwill ambassador that she is, the svelte star took it upon herself to mend all her previous relationships.

During the making of Imtiaz Ali’s Tamasha (2015), Deepika and Ranbir’s relationship evolved; it made way for a mature friendship. As a result, the Kapoors also warmed up to her. Both the seniors were candid about their appreciation for the Bengaluru girl, who was ruling Bollywood.

Last year when Padmaavat released, Rishi was full of praise for the movie. Neetu and he loved Rani Padmavati and Alauddin Khilji in the movie. Besides articulating their feelings to the maker of Padmaavat, Sanjay Leela Bhansali, whose work they applauded the most, the Kapoor couple made it a point to send flowers and a note to Deepika.

The latter shared her note on her social media handle. “Excellent work. So very proud of you... Love Neetu and Rishi Kapoor,” the handwritten note read. The actress also shared a picture of the bouquet and card the star couple had sent. Few knew that the leggy lass’ husband, Ranveer, too, had received a note and bouquet from Rishi and Neetu because he didn’t really go out there to mention it. But the Kapoors had loved him equally in the film and he acknowledged their appreciation to them over a phone call.

That be as it may, earlier this week Deepika, who was in New York for her MET Gala appearance, made it a point to visit Ranbir's parents who are currently residing there. This time, Neetu shared adorable pictures of the three of them — Rishi, Deepika and her — hugging and smiling. She wrote on her Instagram, “Such a fun evening with adorable Deepika Padukone. Gave lot of love and warmth.” A few days later, the Chhapaak actress posted an image of an adorable bracelet, which was gifted to her by Ranbir’s sister Riddhima Kapoor Sahni, who is a jewellery designer. She shared a picture of her wearing the bijouterie, tagging both Neetu as well as Riddhima and wrote ‘Blessings & good wishes...’

Like they say, if you will it, you can make it happen. Kudos to Deepika and, of course, to the Kapoors, too.


(Clockwise from left) The pic that Neetu Kapoor posted after Deepika visited her and Rishi Kapoor in New York; Last year, the Kapoors sent flowers and a note to Deepika after Padmaavat’s release; Deepika flaunts a bracelet that was gifted by Riddhima Kapoor Sahni

BT captures an interaction between the actor, his wife Aaliya — the brain behind the film — and Teejan Bai, who recalls her journey and the storms she had to brave
Renuka Vyavahare (BOMBAY TIMES; February 11, 2019)

It’s raining biopics in Bollywood and there’s one more in the making. BT has exclusively learnt that Nawazuddin and wife Aaliya Siddiqui are set to make a film on Chhattisgarh’s legendary folk artiste, Padma Vibhushan awardee Teejan Bai. The veteran artiste is the greatest exponent of Pandvani (Pandavon ki katha in Chhattisgarhi language), a traditional performing art form involving narration of tales from the Mahabharata.

Nawaz has been a huge admirer of Teejan Bai’s work since his early days as a theatre actor and has seen her perform live.

However, the thought of making a film on her was Aaliya’s, who will soon make a foray into cinema as a producer with a film helmed by Sai Kabir. The Teejan bai biopic will be her second outing as a producer. While the film is still being scripted, BT was the first to catch up with Nawaz, Aaliya and Teejan Bai in Mumbai. It was also the first time that the three were coming together for a discussion. Excerpts from a tête-à-tête with the trio...

As we entered the room of a suburban five-star hotel in Mumbai, Teejan Bai welcomed us with a warm namaste and expressed gratitude to Aaliya and Nawaz for dedicating a film to her. Though she isn’t too acquainted with the current crop of actors, she acknowledged Nawaz’s work and told us that she is aware of him as an actor. She even recalled her meeting with director Imtiaz Ali (during Tamasha, 2015) and said, “Itney bade director hamare ghar aaye, hamare saath khaana khaaya. Woh Tamasha bana rahey the tab. He spent almost four hours in my village. I showed him around.”

Explaining why she chose to make a film on Teejan, Aaliya explained, “I’ve always wanted to make a film on amma (Teejan Bai). Even at this age, she performs on stage for hours and doesn’t forget a single word. She fought the norms created by the society, at a time when women barely had the right to speak up and that’s admirable. I would love to see Amitabh Bachchan sir playing the role of her nana, as in reality, her grandfather played an integral part in her life and career. Interestingly, we discovered that Amitabh ji’s legendary father Harivanshrai Bachchan was also an admirer of Teejan ji. Amitji had also invited amma to his home on his birthday.”

Teejan was accompanied by her assistant, who helped us communicate with her better. He innocently pointed out that she barely remembers her age. While she says she is 63, she could be well in her 70s, but can still perform on stage for over an hour at a stretch. She cut in, “Government ne naukri diya tha. Main anpad gawar insaan kya jaanu. Naukri ke time age poocha toh aise hi bata diya. Mujhe baad mein pata chala ke mera age toh zyaada hai.”

In times of women empowerment and fight for gender parity, as Teejan recollects her life’s journey, and her success against all odds, you wonder why it took so long for Bollywood to notice her. She regrets her lack of education and despite enjoying global recognition and receiving various national and international awards, it is heartwarming to see her simplicity and honesty.

NAWAZUDDIN’S FANBOY MOMENT!
A self-confessed Teejan fan, Nawaz recalled, “Like hundreds of people, I have also been a fan of Teejan Bai. Her shows were always houseful. People used to stand on their seats and clap. They would queue up to catch a glimpse of her. I must have been 20 years old. I got goosebumps when I watched her perform live in Delhi for the first time, in the early 90s. Woh ek mahol create karti thi. Traditional folk artistes like her have a way of telling a story with their gestures, voice, and body language. It’s dramatic, OTT and magnificently enthralling. Legends like her have kept our country’s culture and art alive.You need to conserve what is yours. It hurts to see that today’s generation might not even know about her. ”

As far as his involvement in the film is concerned, he added, “Aaliya is my wife and I will support her as much as I can. I will be involved in this film as far as the creative part is concerned. Teejan Bai is a legend and we hope we can make this film relevant, not just for the film festivals, but also the audience in general.”

Happy to know that a film is being made on her, Teejan Bai said, “Maine apni zindagi mein kaafi utaar chadhav dekhi hain. Mujhe khushi hai ke mere jeevan par ek picture ban rahi hai. It reminds me of all the problems and hurdles that I have overcome in all these years.”


TEEJAN BAI’S LIFE STORY
Attributing her art to God, Teejan revealed that Pandvani was her calling and it came naturally to her. But that was a problem, as women weren’t supposed to perform on stage at that time. It was condemned. Since she didn’t pay heed to her parents’ disapproval, she was asked to leave the house. She explained, “I hail from Ganiyari (Chhattisgarh) and I’ve been performing since the age of 13. I am no poet. I used to hear my nana (grandfather) sing at night and I learnt it from him. Words and pictures came naturally to my mind. Pandvani yeh kaam ladkon ka hai, ladkiyon ka nahi, aisa mujhe bola gaya. Mujhe mana karte the sab log. Maa kehti thi ke sab gaon wale taana maarte hai. Main ladki hokar ladkon ka kaam kar rahi thi. I never understood why I can’t do it. Why shouldn’t a woman perform on stage? I was told that if I continued doing it, no one would marry my siblings and that we would be ostracised by our village and society. Uss zamaney mein Hindu dharam mein aisa samajhte the ki jinka gharaana accha nahi hai, wohi aurtein stage pe perform karti hai. I was told to focus on household chores. I felt, Bhagwaan ki katha bataane mein kyun katrana’, so I continued singing. Maine maa ka nahi suna isliye mujhe ghar se nikaal diya. I was very young then. I’ve looked after myself from a very young age. Mujhe chulha jalaana bhi nahi aata tha. I became a nomad. I travelled wherever the work took me. My parents loved me, but they were adamant that I give up Pandvani, which I didn’t do. I got married thrice. Even my in-laws would say, ‘Humein gaana gaanewali nahi, khaana bananewali bahu chahiye’.”

AWARDS, GLORIES AND A MEETING WITH INDIRA GANDHI
Speaking of awards and degrees conferred upon her, including the recent Padma Vibhushan, Teejan naively admitted, “I didn’t have the knowledge of these awards (Padma Awards) until people told me what they meant. When Bilaspur University awarded me with a D.Litt (doctorate) honour, much to their amusement, I told them that I can’t have two D.Litts as I was already offered one by Raipur University. I told them give it to someone else. They laughed and told me, ‘Aisey Dr ki upaadi aapko dus bhi mil sakti hai’. That’s when I thought, ‘Oh, I just got two. I want more (laughs!)’. I have four such D. Litt degrees today — from Raipur, Bilaspur, Raigarh and Jabalpur universities. I have even performed in front of Indira ji (former Prime Minister Indira Gandhi), and unko bhi mera performance pasand aaya tha. She thought that my courage was admirable. She even joked with me saying, ‘Chhattisgarh mein Mahabharat karvati ho kya?’ To which I replied, ‘Karvati nahi, sunaati hoon’. Impressed by my repartee, she couldn’t believe that I wasn’t educated.”

IMTIAZ ALI’S TEEJAN BAI CONNECT!
Like Nawaz, another huge fan of Teejan Bai from the industry is filmmaker Imtiaz Ali. Interestingly, his Ranbir Kapoor and Deepika Padukone-starrer Tamasha was strongly influenced by her craft.

Describing her as the ‘rock star of Indian tamasha (grand show)’, Imtiaz told BT, “Before starting Tamasha, Ranbir and I decided to visit the rockstar of Indian Tamasha, Teejan Bai. We went to her home in Ganiyari village (Raipur) where she still rehearses and figures her lines. She even performed for us. I wanted Ranbir to see how stories are told with drama, the real Indian way.”

As he brings another timeless romance, Laila Majnu, to theatres, Imtiaz Ali on how he'd rather create a legacy with his work than be part of the rat race
Mohar Basu (MID-DAY; August 12, 2018)

When you've said almost everything about love in your last eight films, is it difficult to find uniqueness in a concept?
I don't approach a story based on the concept of love. I love the idea of telling stories about men, women and their relationships. People are unique and that makes it interesting for me. I don't start thinking that I am making a 'love story'. I have a lifelong interaction with my movies and choose to showcase the experiences well that keep the audience entertained for three hours. I am a greedy filmmaker, hunting for stories to satiate my greed. I don't uphold the genres I am said to be known for.

But ultimately, they are all love stories.
I don't deny that they are, because that's what they are categorised as eventually. However, these categories are defined by people. The audience finds what they are looking for and what is missing from their lives, in my movies. Filmmakers are categorised by their abilities. If my films explore the relationship between a man and woman, someone else's beat revolves around a man's relationship with guns. When Yash ji [Chopra] started making films, he introduced the concept of the angry man with Waqt (1965). In the latter half of his career, he made movies like Dil Toh Pagal Hai and was hailed as King of Romance. Who knows what I will be known for (smiles)?

What about Laila Majnu's story compelled you to write it?
There is divinity and an eternal quality in stories that never end. To understand that is essential in improving my craft. I was reading an anthology on great love stories and my focus was on Heer Ranjha, especially because I was making (2011) at the time. Laila-Majnu has a philosophical stature, like Sufi saints, which hooked me. I wrote about 35 scenes and 10 years later, people who read it thought it could be made into a film.

Is it easy to part with a script that you have written?
I never intended to direct this. Usually, I write scripts with the intention of directing it, otherwise, I hate writing. But once a story is given away, like Cocktail (2012) and Ahista Ahista (2006), I let go. I make no bones about the treatment of a story once I've handed it over to someone else. I don't grudge Homi [Adajania] for Cocktail; once it is someone else's baby, it is easy.

Are you critical of the films they make?
I am critical, but only as much as I am of my own work. I am aware of the mistakes in Cocktail, that happened because of me, as well. Work in this industry is collaborative; at any time, over 150 people are involved in making a film. An Imtiaz Ali film is a product of many people; movies are never a one-man show. All my films could have been better and I can list scenes which could have been shot differently. It's a curse I live with because unlike other industries, the work we do here exists for eternity.

Since you are critical of your own work, can you deduce why Jab Harry Met Sejal was panned so brutally?
It's difficult to say what it deserved. I don't think it's a bad movie and won't shoot it down as a mistake. I have worked hard on that film, like all my other projects. I know what went wrong with that film. Had I done few things differently, it would have turned out better. As far as criticism goes, people will say things, but you have to believe in what you are making and stand by it. I've got contrasting views on Tamasha (2015). Some hailed as a masterpiece and some called it boring as sh** on the same day. They will always try to convince you that their feeling is the universal truth.

When you move forward from a commercially unsuccessful film, are you cautious about your next?
There are no guidelines on what would work and what wouldn't. I am a clean slate when I sit down to write. Stories last a lifetime; box office calculations are transient. I don't operate from a mindset that movies are made for cashing out. I don't know what Sholay (1975) or Andaz Apna Apna (1994) earned but I want to give the audience what these movies gave me. I am creating a legacy.

Have you managed to create a trademark legacy?
I haven't made a legacy, but I am in the process of creating and producing what I wish to. I believe in the power of movies. Market respects talent and creativity, but creativity doesn't necessarily have to respect the market. Making something like Baahubali is beyond my purview.

Do you have a favourite in your filmography?
I can pick a thousand reasons why none of my films are my favourites. But as passionate experiences, I'd pick Highway (2014) and Rockstar.

What is next in the pipeline?
I am writing four stories, will figure out what I want to make next at a later stage. I will be producing these and hence won't be under pressure to stick to time frames. I have had these stories for a long time, and each film will have its own destiny. Right now, I am in the hatching period. I can't be compelled to be part of the industry's rat race.

Renuka Vyavahare (BOMBAY TIMES; December 4, 2017)

There is something about Imtiaz Ali and the world he creates on screen. His characters often exude the uncertainty of a wandering mind. This explains why we feel invested in them — be it Geet’s (Jab We Met) heartbreak, Jordan’s (Rockstar) disillusionment or Ved’s (Tamasha) inner conflict. In a heart-to-heart chat, the storyteller speaks on his unspoken chemistry with Ranbir Kapoor, thoughts on Rumi being his driving force and what went wrong with Jab Harry Met Sejal (JHMS). Excerpts...

You had said that you don’t like watching romantic films. That’s interesting, considering the fact that you are known for making love stories…
It’s true that I don’t watch love stories. Of course, Shyam Benegal’s Junoon, a Cantonese film called Chungking Express and Sommersby, starring Richard Gere and Jodie Foster, are a few of my favourites, but I like intense stories, set in different parts of the world that I have not been to. I can watch films like The Godfather or Sholay 100 times, but not a love story.

While your characters are relatable, most of them are lost and uncertain. One rarely finds a self-assured character in your films...
I am an untrained filmmaker and writer. In fact, I hadn’t even read scripts before I began to write them. The only thing that I knew was the life around me and so, I had no option but to create characters like the ones I had seen or met. Talking about my characters’ uncertainty, I feel that it’s boring to know everything. Being sure of oneself is undramatic and arrogant. At this age, my understanding of everything has changed. There was a time when I was sure about things and now, I’m sure that I wasn’t right back then (laughs). You cannot hold on to the definition of truth that you discovered long ago. My characters also embody that change.

Just like your characters, many of your stories too have a similar theme — they revolve around existential crisis and heartache. Are you drawn to the darker side of life?
It’s not that I get attracted to the darkness in a character, but I don’t know anyone who does not have a sensitive side. That exists in my character even when I don’t intend to. When I started to write Geet Dhillon (Kareena Kapoor’s character in Jab We Met), I didn’t know that she’ll face these problems in life, but she does. That makes it look real. For anybody to be complete, there ought to be various sides to them.

Which character of yours is the closest to your heart?
Janardhan Jakhar (Ranbir’s character in Rockstar) — I can’t say that I understand him, but I can feel him the most. However, he’s not like me at all; I’m much more intelligent than him (laughs).

The characters you created for Ranbir in Tamasha and Rockstar and the way he portrayed them were cathartic. One can sense an unspoken chemistry between you two as artistes...
I feel a certain sense of comfort with Ranbir. Even if I am unable to explain to him what I have in my mind, he understands most of it. For instance, in Sadda Haq (song in Rockstar), there is a part where only the guitar is playing and Jordan needs to scream. I couldn’t explain to Ranbir what exactly had to be done, and told him to act as if a current was passing through him. He didn’t know what I was talking about, nor did I! When we finally rolled the camera, he went berserk. He only opened his eyes when everyone clapped. It felt like he was awakened from a dream.

It’s been two years since Tamasha’s release. True to your style, it was a story that was open to various interpretations. Do you intentionally build your stories in such a manner?
A film is not what the writer writes, it’s what the audience understands. It’s like God — whatever you think is the truth. Yes, in Tamasha, the interpretation was very improvisational, especially of Ved (Ranbir’s character). Every take was so differently interpreted by Ranbir and me that each shot looked different. Then, to choose the right take became extremely important because eventually, that’s how the film would be interpreted.

Also, it looks like Rumi’s thoughts and philosophies drive your narrative...
I didn’t even know much about Rumi before I started shooting for Rockstar. By sheer coincidence, a lot of his quotations were being texted to me by friends while I was making the film and strangely, those quotes resonated with the story! I was surprised because it felt like Rumi was stalking me. Before Rockstar, there has been no reference of Rumi in my work. A lot of people think that I am a specialist on Rumi. They even gifted me books on him, which I still haven’t read. But every time I read his poems, I understand various layers of what he is trying to say. It tells me a new thing or makes me think in a new way. Even after JHMS was made, its tagline, ‘What you seek is seeking you’ (by Rumi) was suggested by someone else. I didn’t come up with it.

Talking about Rumi, it’s widely believed that the ‘beloved’ in Rumi’s writings is God and not a romantic interest...
True, but basically, all love is the same. You can distinguish it by saying that your love for water or fish is different from Jordan’s love for Heer (characters in Rockstar), but when you think deeply, it’s all the same. So, what Rumi wrote about love was not very different from what Jordan felt.

Most actors are often associated with certain filmmakers. However, there was a bit of a swap in the past year when Ranbir did a film with Karan Johar (Ae Dil Hai Mushkil) and you directed Shah Rukh Khan in JHMS. Everyone was thrilled about the new combinations. Did that thought cross your mind as well?
I have known Shah Rukh for a long time. In fact, I understand him more than Ranbir because SRK, like me, is not from the film industry. He is also from North India, and has done theatre in Delhi. So, like all other directors, I wanted to work with Shah Rukh at some point and I did it. Unfortunately, the film didn’t turn out as well as one would have liked it to.

You’ve always maintained that every time you see your film, you feel it could’ve been better. Would you say that for JHMS?
I always feel that all my films could have been better. Regardless of whether they have been praised or criticized, I can see hundreds of flaws in each of them.

So, what according to you didn’t work for JHMS?
It takes me a while to understand my own films. I can tell you the flaws, but those will be the small ones. For instance, how a certain scene should’ve been shorter and things like that. But overall, about the film not performing as well at the box office (pauses), is not something that I have a great perspective on. As the director, it will take me a while to understand what went wrong — was it the media, bad publicity or just the fault of the film. I feel that it’s a combination of all as a film cannot be exceptionally good and yet be hated by people.

This was the first time you worked with SRK, who is revered as the king of romance. Were you overwhelmed by the pressure of making a film that did ample justice to him?
You mean, did I think that if I am working with Shah Rukh, let me do something special? Not really. He made me feel so comfortable that I wasn’t thinking about that. He did not expect anything from me other than what I wanted to do.

Let me rephrase. Subconsciously, we tend to become a victim of our own expectations sometimes. Did that happen to you while making JHMS?
I have very little expectations from myself, I only have expectations from my films. I feel that they should be meaningful and different. They should teach me a few things and take me in a direction that I have never been before. JHMS took me back to unheavy cinema. I didn’t want to become a victim of the so-called ‘meaningful’ cinema. I wanted to make a film which is light. Maybe, that was disappointing for people.

Jab We Met was light-hearted, too, and was still appreciated...
It was appreciated, but I made four films after that and the last three — Rockstar, Highway and Tamasha — had a certain gravitas. After those films, people saw me in a certain way. If you look at (Sanjay Leela) Bhansali, he has made three films of a certain type in the recent past (Padmavati, Bajirao Mastani and Ram-Leela). After Padmavati’s release, if he makes a film like Khamoshi, people will wonder, ‘What has he done? It’s different, it’s not him’. So, our expectation from Bhansali is not a Khamoshi even though he has made it. I feel every filmmaker is entitled to discover his calling and steer towards something that’s organically pulling him. Hence, I will make films that people might not expect from me. Don’t get me wrong, I want all my films to be successful, but I also want the liberty of making the films that I want to. Many people tell me about what works and what’s the right thing to do, but I’ve never done the right things in my life (laughs). If I did the right things, I would never be a filmmaker.

Sonil Dedhia (MID-DAY; September 10, 2017)

Parisian PR supremo Ophelie Oscar-winning composer A R Rahman, who has completed 25 years in the music industry, is keen to go beyond composing music through his foundation. His film, One Heart: The A R Rahman Concert Film, which has just released, is being touted as the country's first concert film. We caught up with the celebrated composer.

You have always been a private person, how did you agree to be a part of One Heart, a film about your stage shows?
When we finished our 2015 tour that took us across 14 cities in North America, it felt magical. I had a great time working with the team. We had been capturing candid moments on camera. One of my executive producers told me, 'You want to do something for the musicians and the music fraternity, why don't you release the footage of this tour as a film and let the collections go to your foundation One Heart.' I loved the idea and gave the go-ahead. We got Nasreen Munni Kabir [UK-based producer-director-writer] to edit the footage. After it was done, we realised it had shaped out beautifully. We have interviews with people who have worked with me. I have also added personal footage. When we did a test screening, everyone was in tears.

There are times when you are described in superlatives. How do you look at it?
I think it's important to know where you stand personally and professionally. I do this assessment every day and that happens from the responses that I get from the people I work with. I have never taken my work for granted. I am sensitive towards my work and what I deliver to the audience. That's why I don't talk much and when I do, I want to make sense. Although I am on social media, I don't use it to provide my daily schedule. I don't think that's important.

Is there constant pressure to deliver the best every time you score music?
I work with people who have high expectations, so my job is not easy. It is not necessary that my most popular songs are my best works. But I have enough time to come up with a score as films aren't made in a day. There have been times when we have to change the songs. Mani Ratnam often rejects my work if he doesn't like it and asks to me to compose again. Imtiaz [Ali] had already shot Agar Tum Saath Ho in Tamasha [his 2015 film] but I wasn't satisfied. I changed it completely. It's not about finishing the job for the sake of it.

Some of your fans walked out when you started singing in Tamil during a UK concert in July this year.
If I see 9,000 people in an arena out of which around 50 people aren't happy then I have to support the remaining 8,950 as they have come for the music. It is impossible to satisfy everyone. There are times when we find people who are in a bad mood [laughs]. Even the biggest of entertainers have faced criticism. I have received a mixed response for my music, but I feel we have to look at the larger picture. This wasn't the first time I was singing in Tamil. I remember doing it for the first time in 2000 during a concert in the US. Also, one needs to understand that the promoter is catering to people from across the country. This needs to be considered during a live act.

How do you look at the scenario where language is given more importance than the music?
It's sad when something like this happens. I look at the audience we are catering to. When I perform in south India, I perform more of South numbers than Hindi songs. It is the opposite case when I am performing elsewhere in the country. During overseas tours, the audience consists of people who have migrated from different regions and are living in a different culture. I have seen them celebrate all kinds of music.

Do you plan to make more documentaries based on stage shows?
It depends on how this film does, but we would love to. There are commercial and artistic films. Then there are films like One Heart. We live in times where people remember the music, not the musician. There are several unsung heroes in the world of music. I know many families who are associated with music for three generations, but nobody has heard of them and they die in poverty. Our foundation aims to contribute towards the betterment of these people founded Le Bal in 1992. Today, she's the CEO of the grand event that completes 25 years on November 25, 2017.

Nayandeep Rakshit (DNA; August 2, 2017)

When you think of Imtiaz Ali’s films, the two things instantly come to mind are love and travel. All his characters embark on a journey of self-discovery together. His last two films might not have been commercial hits, but his next film featuring Shah Rukh Khan and Anushka Sharma, Jab Harry Met Sejal holds a certain promise. Talking about love, trips and films, Imtiaz gets candid with us. Excerpts from the interview...

There’s a certain expectation always from an Imtiaz Ali film. How do you deal with this pressure to deliver?
I deal with it with shamelessness. It’s a unique gift that I have. I have no great expectations from myself. And for the others, who expect things from me as a filmmaker, I deal with all of it like a shameless man. My interest is to enjoy myself while doing work. The rest of it is incidental.

Having made so many love stories, how do you define love?
I do not define love. I don’t try to. I agree with people that when you are defining your relationship with anybody, you are also somewhere defining your relationship with yourself. I don’t understand what love is. I have tried, at different points in my life, to find out what it means to be in love. But now, I have given up on that. There’s a certain amount of affection, longing and desire, but love in itself is very confusing for me.

How do you connect love with a journey in all your movies?
Journey redefines a person. Once you are out of your own perspective, you don’t have a definition of yourself. That’s what I feel. You can be anybody. You are usually defined by people who know you. We do role playing in our society. Once we are out of this space where we are constantly surrounded by people we know and love, we are done with the role playing and that’s when we discover and get in touch with ourselves. That is the only way of having a relationship with somebody else. That’s what my love stories are also about.

You are obsessed with the hero finding his calling while on a journey. Is it a reflection of your real life?
Yes! I have travelled a lot in my life and I’m happy about it. Being from a small town, you need to travel more than other people. Each of those travels has been an exuberant affair for me. Wherein I have discovered new places, new people, and especially discovered myself, which has been entertaining. I have also posed and pretended to be different people for my own entertainment and then realised later that I am perhaps a bit more of that than what people know me as in Jamshedpur or in my University. That exuberance reflects in the films I make.

When you pretended to be someone else, was it a person, who actually existed or an imaginary character?
Mostly, they were imaginary characters. When people ask me about what I do for a living, I intrigue them by saying I can’t reveal that. So they get curious about who I am. Sometimes, I pretend to be this secret service agent, sometimes a writer, sometimes a guy who’s running away from a place Once, I pretended to be Charles Sobhraj! I was travelling by train and I refused to tell my fellow passengers my name. But after sometime, I said it’s Charles. That was way back in college.

Do you feel the world around you changes every time you complete a journey?
Yeah, sure. I feel, I become very different each time. Maybe, almost unfairly different but again, like I said, change is the only constant.

Your last two films were emotionally draining and didn’t do as well at the box office. Jab Harry Met Sejal is more happy and fun. Did the failure change your course?
No, it’s not about the box office. What had happened once was that in some chat groups, where there were a lot of fans of Tamasha, there was a huge debate. I have to admit that Tamasha has some really hardcore terrorist-type fans. Someone criticized Tamasha and the other people, who were lambasting that poor chap told him that you need to be intelligent to understand Imtiaz Ali’s cinema. That set me thinking because I have never been part of the intelligent man’s club myself. I could see that my films were making groups for themselves in which I, myself might not be admitted. So I decided to take another route. Anyway, the reason I do different kinds of films is to learn, experience and make myself better. This time, I knew I had made some heavy films so I wanted to try something lighter.

How was your first meeting with SRK?
It was in London for a film festival. We all were hanging out and I saw Shah Rukh coming up a very narrow aisle somewhere in the hotel, with a drunk girl hanging on to him. He was dealing with her so gracefully without demeaning her. Gauri (Khan) was also with him and everybody was trying to deal with this crazy fan. He was particularly being nice to the girl. When he saw me, he stopped, and we had quite a long conversation even as the girl kept murmuring ‘Oh Shah Rukh, Oh Shah Rukh’ all over him. He was dealing with her like how one would deal with a scarf. He put her arm on one side of the shoulder and continued to talk to me. He asked me to come and tell him the stories of my films. It was just post Jab We Met.

How many films did you offer him then before JHMS?
I never offered him a film, really. But we met many times. Because we somehow belong to a similar world. We are people of similar backgrounds — whether it’s Delhi, theatre or even our University, we have a lot of things in common. Also, like Ranbir, his interest in stories and ideas is exemplary. With Shah Rukh, I always met him without any agenda. I didn’t offer him anything, neither did he ever ask me for anything. But one day, we felt that just because we discuss my films, it doesn’t mean that we can’t have a film together. So then we got Jab Harry Met Sejal!

Has your impression about him changed post this film?
It actually has changed. My impression of Shah Rukh now is that he’s a typical theatre actor. He holds the script and approaches a role in the same way that a theatre actor would. That, too, from Delhi theatre. There’s a certain body language and the way in which you deal with a certain character, role, or a story. He’s all about that. All the background work and thinking he does, his whole personality is that of a Delhi theatre actor. It is something very endearing for me to see that.

When you work with stars, somewhere do you feel guilty of not being able to give them a commercial blockbuster?
I feel the only reward isn’t money. There are much more valuable rewards than basic money. I hope that every film is an enriching experience for my actors. They can keep this experience for later. I don’t feel responsible for box office results, as long as I know my team and the cast had a good experience shooting the film.

Your first film had newcomers, but never post that...
It’s not been deliberate and it’s not the lasting decision. I am not averse to working with a newcomer and I hope to do so soon.

Do you ever see yourself working in a film which won’t have travel at all?
(Laughs) That will be really boring, I think but yeah, maybe someday!

Criticized for his repetitive stories, 'Jab Harry Met Sejal' director Imtiaz Ali says he's not 'scared of sounding similar' so long as his films are 'genuine'. Read his exclusive interview with mid-day
Sonil Dedhia (MID-DAY; July 31, 2017)

Jab Harry Met Sejal is your first film with Shah Rukh Khan. With SRK as a part of the film, the attention shifts to box-office. Does that worry you?
Whether it is Shah Rukh Khan or Ranbir Kapoor, my bigger concern is whether the film will make enough money to pay its debt. That was my worry regarding this film too. I was aware that since SRK is a part of the film, it will become a number game — almost like a horse racing scenario, [where everyone is speculating whether] the horse will win the derby or not. But, it didn’t bother me. Shah Rukh has the same goal as I do; he just wants to make a good film. That is the only thing we were worried about.

Although your films have been critically acclaimed, you have often been accused of having the same storyline about confused lovers setting out on a journey and discovering themselves in the process. What do you have to say about it?
See, I’m far too interested in having fun while making a movie rather than proving to someone that I’m doing a prolific job. I’ve spent 12 years in the industry and I feel lucky to be a filmmaker. I am not looking for adulation from anyone, anymore. It’s not that I consciously repeat myself, but, my stories are my personal interests and there are bound to be similarities. I’m not scared of sounding similar, but I am scared of not being genuine.

All your films have the theme of love. Has your definition of love changed over the years?
It has changed with every film. From Socha Na Tha (2005) to Jab Harry Met Sejal, I can see that my characters are more connected to themselves. I believe that until you have a [fulfilling] relationship with yourself, you can’t have a [satisfying] relationship with anyone else. Also, the word ‘love’ can easily misguide people. I’ve realised that it signifies different things to different people.

Besides travel, another recurring theme in your films is the presence of strong female protagonists. Is that a conscious thought?
I’ve always admired women more than men. They are a beautiful and intelligent species. I’m fascinated by women. There are times when I’m surprised to see that in most of my films, the female characters are smarter. And the influences come from real-life women around me. Take Sejal for instance. She is a Gujarati and there are certain things about that community that I admire. One of them is the status they give their women. Irrespective of whether she is educated or not, the woman has a prominent standing in a Gujarati family. I’ve always been startled by many of my Gujarati friends as they are so worldly wise but naïve at the same time. I included these traits in Sejal.

Of all the characters you have written, who are you closest to?
It’s really difficult to answer that. But, I would wish to be like Aditya [Jab We Met, 2007], a simple and sweet guy, or even Geet [laughs]. I am not even as stupid as Jordan [Rockstar, 2011] nor as sorted as Meera [Love Aaj Kal, 2009]. I think I come the closest to Ved [Tamasha, 2015].

With so many movies behind you, do you still have nagging doubts before a film’s release?
Yes, and I think that will always remain. These doubts used to make me feel bad earlier. But now, I look at doubt in a positive manner. If I don’t doubt my own work, I may become mediocre. The presence of doubt is really important in one’s life.