Showing posts with label Veeru Devgan. Show all posts
Showing posts with label Veeru Devgan. Show all posts
Every day, Ajay Devgn surprises me with something new and better-Danish Devgn
8:35 AM
As he makes his directorial debut with Hanju, Ajay Devgn’s nephew Danish credits actor for “everything I’ve learnt”
Sonia Lulla (MID-DAY; September 18, 2023)
After spending years in the capacity of an assistant director and creative producer in films, Ajay Devgn’s nephew Danish makes his directorial debut with the Priyank Sharma and Ishita Raj-starrer music video, Hanju (tears). In this interview, he discusses picking direction as his profession, and the invaluable lessons he has learnt from Ajay. Edited excerpts of the interview.
What led you to direction, and why did you decide to debut with a music video?
I was the first kid in my family, and my entire family was in this business. I was put on the sets when I was a year old. Since then, watching the chaos, the spot boys, DOPs, directors, actors, and the entire magic on set got to me. I fell in love with that energy. When I was in the third grade, I had a camera with which I would shoot random things. By the time I was in sixth grade, I [began editing]. [I worked on Ajay-starrer] U Me Aur Hum, and that is where the learning process began.
I was always mesmerized by the whole process that goes on behind the camera, and that’s what made me decide to take up direction. I’ve also been assisting [as a director] on sets for nine years, and [have worked with] directors like Pradeep Sarkar. I’ve learned a lot from them in the process. One learns from every little aspect on set. Also, Ajay ji taught me everything I know today. My grandfather [Veeru Devgan] was also technically sound. I kept grasping whatever I could.
I wasn’t planning to make my debut with a music video. I’ve been working on another film that’s releasing next year on which I am the creative producer. This track came my way. Kumar Mangat made me hear it, and the minute I heard the vocals and the piano arrangements, I was drawn to it. The song is filled with pain, and I was keen to shoot it aesthetically.
How did you arrive at this cast?
I wanted to give this song a contemporary and youthful touch. Priyank is a favorite among the women, and Ishita is [admired by] men too. People have always seen her break hearts in her past films, so I wanted to change things a bit. They are really good performers, and seasoned actors. Aesthetically, they fit the storyline. That’s why I wanted them to helm it.
The process of working on this video showed me how to compile emotions and pull off [a narrative] within a defined time-frame. In the movies, we have two hours of time to play with. Here, I had to fit it all in four minutes. Things can either go right, or wrong, because, extracting emotions in four minutes is a complex task. A director needs at least six to seven minutes to establish a film’s emotional [arc]. Luckily, I was supported by good actors.
What were your conversations with Ajay on this number?
When it comes to understanding the technicalities of direction, like CGI, sound, and camera work, he is superior to anyone I’ve assisted. Conversations with him are always educational. Every day, he surprises me with something new and better. If I’m confused, I talk to him, and he enlightens me with things that I couldn’t think about.
He has been in the game for so long. I was nervous to show it to him. He is not easily impressed. [I recall, while working on] Bhola, he would never be impressed with suggestions. But, when I showed this to him, he was impressed.
Can you share your plans as an artiste in this industry?
I am the creative producer at our production house, Ajay Devgn Ffilms. I am currently slating projects for us. I’m also looking to direct more songs, ads, web shows, and eventually, a film. I am still in the [process of] scripting it. It will be two to three years before [I work on it].
Priyank Sharma and Ishita Raj in the music video
Whenever I design my action scenes, I ensure that I don’t copy a shot from any Hollywood film-Ajay Devgn
8:34 AM
Onkar Kulkarni (BOMBAY TIMES; March 30, 2023)
After enjoying the success of Drishyam 2, Ajay Devgn is all set to ace the action space once again with his film Bholaa. The action-packed entertainer, which hits the screens today, boasts of jawdropping action scenes, including a thrilling sixminute bike-truck chase scene. Like Ajay says, action by itself doesn’t work without strong emotions backing it, which is what fuels his latest directorial project. In a chat with Bombay Times, the actor-filmmaker talks about his father, action director Veeru Devgan, being the source of inspiration all his life, how he believes that technology has to be used efficiently in our cinema and his vision as a filmmaker. Read on:
This is your fourth film as a director. Most directors are known for certain kinds of film, which becomes their space. In your case, the common facet in your movies (Shivaay, Runway 34, Bholaa) is that it is high on technical expertise and finesse. That’s one strength you are using effectively in your storytelling…
Runway 34 was completely different from Shivaay, and Bholaa is completely different from the rest of them. I want to make films of different genres. Technology is there only to enhance the drama of the film and storytelling, and I use it accordingly. I never use technology only because I am tech-savvy.
You have said that you want to create an entire Bholaa world. Does that mean that you are looking at creating a franchise with a universe of its own around the character?
That’s the idea. The film ends on a note leaving scope for continuation. But everything also depends on how the film does. You can’t continue with the idea if it doesn’t work. The intention is that we bring in more characters and things like that ahead.
At a time when remakes are not really working at the box office, your last film Drishyam 2, which was a remake, was a huge success. One of the reasons behind its success, the makers said was that they didn’t redo the film as is, but narrated the same story in a different way. So, when you are talking about creating a Bholaa world, are you doing it from an entirely fresh perspective?
Yes, it’s something new and wasn’t a part of Kaithi (Tamil film). When you see the film, you will realize that we have only picked up the story idea and adapted it. When you make remakes shot-to-shot, it’s a different thing (the results are different). But when you adapt it the way you want in terms of its characterization, drama, emotions and treatment, then it’s different. You start following your own path, which can lead you anywhere. What I have done is, I have merged it from real to surreal. All the positive characters in the film are very real, but all the negative characters are from a crazy world, not really the Mad Max (franchise) kind of a world, but in the larger-than-life kind of a zone.
Everyone is talking about the six-minute biketruck chase scene. How do you ensure that the action in your films take a leap with every project – in terms of visual impact, technical expertise and VFX?
I have inherited it from my father (action director Veeru Devgan). I have learnt most of it from him. He used technology at a time when it wasn’t available. He took it to a point where people were amazed at how he did a particular scene at that particular point. Now that I have the support of technology, I can take it forward and create something where even people who are exposed to technology will turn around and wonder how this was created. Whenever I design my action scenes, I ensure that I don’t copy a shot from any Hollywood film. In most of our movies, you see the action sequences and know that this is something you have seen in a Bond film, or a Mission Impossible. So, when you create something different, there is no reference point, and it becomes tougher to execute.
This action sequence that you are talking about was very risky. We needed some top-notch bikers, so we flew in some international ones, and some from Pune and rehearsed for three months. To capture the chase, cameras needed to be closer. It was riskier, and so we designed the equipment accordingly keeping safety in mind.
Do your children, Yug and Nysa, enjoy watching action films?
My son does. The bottom line is that every action has to have an emotion attached to it, else even a well-executed sequence will not connect with the audience. It is the drama and emotion behind the action which is important. Action alone doesn’t work; it is the emotion behind the action that makes it work and good directors know how to use it well. If you see KGF - Chapter 2, there was an emotion behind the action and that’s what worked. Back home, Yug loves action, but Nysa is not interested. Yug watches a lot of anime too. He’s started to watch a lot of films, and he’s waiting to see Bholaa.
Recently, you posted a pic of Yug and you arm wrestling for fun and the caption read, “Akeli ek ladai jise har baap haarna chahta hai (The only fight in which every father wants to lose).”
See, now that’s an emotion. The thought was not arm wrestling, but it was about the emotion that every father wants his son to do better than him. Today, they say – here comes Ajay Devgn, but after 20 years, I would like to hear, 'Here comes Yug’s father'. That’s the mindset of every parent.
Bholaa looks like a film that is rooted in our culture, there is an Indianness to it. Do you believe that these stories, coming from our culture and history will make our cinema stand out?
To an extent, yes, I agree. Well, it’s not just the Indianness, but there’s more connect when you showcase your own culture in your film. Also, if the audience begins to feel that the hero’s character is one of them and the world (story setting) is their own, then it works better. In India, we are not making films on subjects like aliens because there has to be a connect. You make a film for your own market. We have grown up on supernatural mythologies, we have our epics like Mahabharat and Ramayana, which have every kind of character you can think of in this world. You see foreign directors picking these things and justifying their films, including Avengers or Avatar. All this is our own, and if we are not using it, then it’s our loss.
Bholaa's truck-bike chase was the toughest to execute. I wish my dad was around to see it-Ajay Devgn
7:56 AM
Saying that actor-filmmaker Ajay Devgn has hit it out of the park when it comes to gravity-defying action in his upcoming action-drama Bholaa which is releasing on March 30 (3D and IMAX 3D as well) would be an understatement. In the film directed by him, in which he also plays the protagonist, he has created a dangerous world with drug lords, gangs, cops and common men all fighting to grab the booty. And then, there are some who are fighting back to save the maal.
The actor who has a great understanding of the pulse of his audience has become synonymous with doing unbelievable stunts – remember the split on two bikes action in his debut film Phool Aur Kaante – for the last three decades. This time around, he once again promises to take action in Indian cinema to new heights. It’s going to be whistles and claps all the way for this mindboggling sequence.
While Bholaa, which is laced with a deeply emotional story, has non-stop action throughout the film, the highlight of the movie is – a prolonged bike-truck sequence that was shot painstakingly over 11 days with fighters, action specialists and supervisors from India and Europe. The bike sequences seen in the teaser and trailer of the film are some of the most impressive scenes in the movie. The lead actor himself has performed breathtaking bike scenes, which are fast, furious and tough to emulate.
Not one to give away too much, Ajay says, “The action of Bholaa is one of the highlights of the film. The truck-bike chase was the toughest to execute. I wish my dad (Veeru Devgan) was around to see the film. He probably would have given me a pat on the back because he spent his lifetime innovating film action. He was in a league by himself. But he would have understood where I’m coming from. I must add that somewhere what my father did has stayed with me.”
If Nysa decides to pursue a career in the film industry, we will always support her-Ajay Devgn
8:22 AM
Ajay Devgn says his daughter is yet to make a career choice, but he and Kajol will back her in whatever she decides to do
Rishabh Suri (HINDUSTAN TIMES; August 17, 2022)
Of late, many young star kids are making inroads into the film industry, including actor Shah Rukh Khan’s daughter, Suhana Khan, producer Boney Kapoor and late actor Sridevi’s younger daughter, Khushi Kapoor, actor Sanjay Kapoor’s daughter, Shanaya Kapoor and actor Amitabh Bachchan’s grandson, Agastya Nanda, among others. Hence, actor-couple Ajay Devgn and Kajol are often asked if their daughter, Nysa Devgan, would follow in her parents’ footsteps, too.
While rumours around the 19-year-old making her acting debut have been doing the rounds for a while now, Ajay says she hasn’t made up her mind, yet. “She is just a teenager. She hasn’t told Kajol or me what her final career choice would be. As of now, she is studying overseas. If she decides to pursue a career in the film industry, it will be her choice. As parents, we will always support her,” says the 53-year-old.
The Runway 34 actor adds that premature speculations are pointless. “These are bridges you cross when you come to them. You cannot discuss this a day too early or a day too late. It will be Nysa’s decision all the way,” Ajay asserts.
In Ajay’s case, it was his father, late action director Veeru Devgan who wanted his son to get into films. “My father had a dream for me. He wanted me to become an actor. So, I worked hard towards achieving that dream and I am grateful to God, my fans and my parents’ blessings that things worked out for me,” says Ajay, as he goes on to express his desire to be like his dad.
He adds, “My father was a self-made man, who became a legend. I have seen him work really hard to get to where he reached. And, till the end of his life, he respected his profession and his fellow workers. He was also a family-oriented man and he provided us with the best. If I am able to follow in his footsteps, I will be happy. It is all I can ask for.”
Satish Kaushik, who quit smoking on Veeru Devgan’s insistence, picks it up again for Bloody Brothers
8:01 PM
Uma Ramasubramanian (MID-DAY; March 17, 2022)
The things actors have to do for a role sometimes go beyond their personal choice. Filmmaker-actor Satish Kaushik, who was flitting between the decision to smoke or not, finally relented for the love of art despite his health issues. Playing a don in ZEE5’s Bloody Brothers required the actor to smoke cigars.
“Shaad [Ali, director] said that the cigar could give my character an edge and style. I have a bit of bronchitis issue, [so I was worried], but he let me take the final call,” informed Kaushik and added that he often sipped warm water after every smoking scene.
“I realised that the smoke of the cigar surrounding my character would make it look interesting [on camera]. I usually mouth-fagged and timed it well to ensure that I looked convincing as don.”
The actor had quit smoking when he set out to direct Roop Ki Rani Choron Ka Raja (1993). “I quit smoking after shooting for the train robbery sequence in the film. I remember Veeru Devgan was on top of the train, and I was standing below, smoking while briefing him about the scene. He threatened to stop shooting until I stopped smoking. That’s how I quit the habit,” reminisces Kaushik.
I'm just getting warmed up for the next 30 years-Ajay Devgn
8:17 AM
Ajay Devgn looks back at his journey of three decades and shares how debuting with Phool Aur Kaante turned things around for him
Rishabh Suri (HINDUSTAN TIMES; November 22, 2021)
In 1991, actor Ajay Devgn entered everyone’s hearts, riding on top of two motorcycles in the film Phool Aur Kaante. Today, as the 52-year-old completes 30 years as an actor, he says he is all “warmed up for the next 30”. Excerpts...
Sustaining in showbiz for three decades wouldn’t have been easy. Correct?
You are right, it is herculean. Sustaining in any field for three decades needs constant evolving, and a certain level of maturity — not just in age, but also in craft. It needs constant experimenting, and learning closely from the colleagues and filmmakers you work with. It’s a never-ending process. I look back at the last three decades as one terrific journey, in which I’ve made countless mistakes and struck innumerable home runs. Either way, I am happy.
When you started out, were you sure about making it big, as an actor?
Frankly, it was my father’s (late Veeru Devgan) dream to launch me as an actor. I was just required to focus on realizing his dream. Whether I’d be successful or not is a thought I didn’t toy with at that stage. No one can enter the films planning stardom. You have to work hard and pray your destiny carries you forward. When Phool Aur Kaante became the craze it did, I was catapulted to stardom. I was immature, young, unprepared for stardom.
How was it working in the film?
Kuku Kohli, my director, set out to make a volatile love story with two newcomers — Madhoo Shah and me. He picked up the best music directors of that time, Nadeem-Shravan, brought in my father for action choreography and had a stalwart like (actor) Amrish Puri, who played my father and the antagonist. So, I had to just play my part. I was raw and consumed by delivering the kind of action my father wanted.
Your entry on top of two motorcycles became a rage. How did that go?
I can’t recall the exact feeling I experienced when I stood astride those two motorcycles. However, I know it was a moment of complete madness. Three decades ago, we didn’t use body doubles and safety nets. We just went for it. It was a leap of faith.
I didn’t think a stunt would become defining moment-Ajay Devgn
7:50 AM
As he completes 30 years in Hindi cinema, Ajay remembers how he straddled two bikes to make a stylish entry in Phool Aur Kaante and Bollywood
Uma Ramasubramanian (MID-DAY; November 19, 2021)
What’s the first thing that comes to mind when we mention a guy straddling two bikes? Hindi cinema lovers will answer in a heartbeat — Ajay Devgn. When action director Veeru Devgan had designed it as the entry scene for his actor-son in Phool Aur Kaante (1991), little had he imagined that the sequence would remain iconic decades down the line. Devgn, who completes 30 years in the industry this week, says the film and that sequence catapulted him to one of Bollywood’s leading action stars.
“Celebrating 30 years to my debut film is special. I didn’t think a stunt scene, the one that had me coming astride two motorcycles, would become such a defining moment in my career. I still remember the thrill I felt when I performed the split,” he recounts.
Since then, Devgn has gone on to headline memorable films, picking up awards along the way. But he confesses that his debut movie, which will be showcased on Zee Bollywood on Monday, remains special to him. “My father directed that shot, and there was no intervention from stunt doubles. [Over the years], Hindi cinema has widened its horizons, and I am fortunate to be a part of this ever-evolving industry.”
I don’t even cut a cake on my birthday-Ajay Devgn
8:30 AM
Turning a year older today, Ajay Devgn says cinema for him is as exciting as it was when he made his debut 30 years ago
Rishabh Suri (HINDUSTAN TIMES; April 2, 2021)
He was 22 when he entered the film industry as an actor with Phool Aur Kaante, and 30 years later, Ajay Devgn stands as one of the biggest stars in the Indian film industry. Turning a year older today, he’s in the busiest phase of his career, with three films set for a release in 2021 — Maidaan, Sooryavanshi (in which he has a special appearance) and RRR, apart from also directing MayDay. He takes out time from his busy schedule to talk about his three decades in films, and missing his father, late action director Veeru Devgan. Excerpts:
Are you a birthday person? Do you get excited about the day?
No, not at all. I’m shy. I don’t even cut a cake! Of course, cakes are cut in office, at the shoot and in my home. But I usually get my children or my nephews to do it.
I’m going to be 52 this year. And, it’s hard to say — I get excited about a birthday. With the Coronavirus pandemic, things are even more restricted. I know my mother and my wife will make it special by inviting my sisters, their families and cousins over. It’s a template we follow on the birthdays of all family members. The fan clubs do their own form of celebration. I must say, it is a day to say thank you to everyone, especially fans and well-wishers.
The day must be more special, after all 2021 is your 30th year in Bollywood. How do you look back upon these three decades?
Had we not been in the middle of a pandemic, I may have had some people suggesting we do something to mark my three decades in the industry. However, now caution is the key word today. All celebrations must be low-key and responsible.
Looking back, I would say time has flown. Each and every film has taught me something. What is wonderful about being an actor or for that matter, a creative person is – age doesn’t define your creative parameters. You can still be learning and learning more.
I love the fact that at 90-plus, a filmmaker like Clint Eastwood is doing some extraordinary work as a filmmaker. His is an example that comes to mind. Closer home, there is Amitabh Bachchan. I’m directing him in MayDay. And, I can’t tell you how inspiring he is. His discipline and dedication to his craft; his enthusiasm are infectious qualities. I don’t know what the future holds. I would if I could ask to be like these legends. Not so much for the ‘legendary’ aspect. But more for their complete involvement with cinema. Cinema excites me. It’s more the creative aspect that I enjoy and the commercial aspect is a bonus.
Do you have any fond birthday memories?
As I said I’m not much of a birthday person. I wish my dad (Veeru Devgan) was around on this special day. I wish that everyday actually.
What is your birthday plan this time around? Any wish?
My wish is for everyone across the globe. I hope this pandemic ends soon and life eases back to normal. It would be a Utopian state but then — what’s the harm in hoping for the best.
If any actor or filmmaker tells you that box office doesn’t matter, he/she is lying-Ajay Devgn
8:22 AM
The actor says OTT platforms have been godsend during the pandemic; adds that people now visit theatres only if the film is worth their while
Rishabh Suri (HINDUSTAN TIMES; February 5, 2021)
Sustaining a position at the top for 30 years is no small feat. Ajay Devgn has managed to do just that, with his swag intact. His last film Tanhaji: The Unsung Warrior (2020) was his 100th film but he is still raring to go not just as an actor but also a maker in 2021.
You started off at a time when a film’s success meant its run time in theatres. Even until they shut down due to Coronavirus, it was about opening day or weekend collections. Do you feel it has become too much about numbers?
There are several trophies marking the golden and silver jubilees of yesteryear films in my office. Most of them were given to my father, Veeru Devgan who was an A-grade action-director. They are a reminder of the golden period in cinema when films ran uninterrupted for 50 and 25 weeks. In recent years, theatrical revenues have worked on a hit and run basis. It has nothing to do with the pandemic. It is because we have so many other avenues to consume our entertainment. Naturally, you will only visit a theatre if a film is worth your while.
How important are box office numbers to you today?
If any actor or filmmaker anywhere in the universe tells you that box office doesn’t matter, he/she is lying. OTT doesn’t give us that joy but the good thing is it takes our films to a worldwide audience. In situations like the Coronavirus pandemic, it is godsend.
You are now working on your next directorial, MayDay. What made you decide to take over the reins as a maker again?
I’m born to films and I love films. Even when I’m idle, I only thinking of films. MayDay is a script that excites me. I want to tell a story that has heart and thrills. I’m also fortunate to have Amitabh Bachchan in it. Directing a legend like him was on my bucket list.
You are always pitted against other superstars. How do you perceive the rat race?
If you are a commodity, you will always be compared. Initially comparisons matter. They even make you bitter. But after 100 films, comparisons only help in making you better. You recognise your USP and then you work at enhancing it. Indian cinema had superstars in the days of Dilip Kumar and Amitabh Bachchan. They ruled for decades. After that, every Friday brought a new superstar.
29 years of Phool Aur Kaante: When Ajay Devgn straddled two bikes to a blockbuster
8:10 AM
Roshmila Bhattacharya (MUMBAI MIRROR; November 20, 2020)
Twenty-nine years later, one still remembers Ajay Devgn’s explosive entry straddling two bikes and Kuku ji applauds the tireless, fearless actor who pulled off not just the most daredevil stunts without duplicates, cables or VFX, but also faced a seasoned performer like Amrish Puri, who played his father, an ageing don, in the film, in the emotionally dramatic scenes without missing a beat. “I knew then itself that he was destined for glory,” asserts the director.
However, since Ajay was still a newcomer then, finding a leading lady proved to be difficult. Undeterred by the many excuses and no-nos, Kuku ji put out an advertisement announcing Phool Aur Kaante with Ajay holding a girl whose face was not visible. “Soon after, Hema ji’s (Malini) niece, Madhoo, sent her photographs across to the office. She looked good and we signed her opposite Ajay. She turned out to be a good actress too,” he smiles.
While they were shooting Ajay’s entry on the bikes, a couple of big producers, friends of Dinesh Patel, had dropped by for a dekko. They would watch Kuku ji run, from left to right, and back, and wonder aloud what he was doing. But despite their misgivings, the film shaped up to everyone’s satisfaction and the response from the aam janta to the trailer also was phenomenal. Encouraged, a confident Kuku ji took another gamble, announcing that they would be releasing it on November 22, 1991, coming up against Yash Chopra’s Lamhe which featured Sridevi in a double role and Anil Kapoor, whom Kuku ji knew from his RK days. “Yash ji was a big filmmaker, Anil and Sridevi were superstars and Lamhe was an eagerly awaited film. Our film had only debutants and everyone laughed at our audacity, calling us mad,” narrates Kuku ji.
He admits that they were equally sure that Lamhe would run to full houses and were only hoping that the audience overflow would come to them. “No one had ever imagined that the reverse would happen. Phool Aur Kaante packed in the crowds for 74 straight weeks and would have easily celebrated a platinum jubilee had it not been pulled out to save on doling out bonuses. However, in its 76th week, it returned to the theatres and continued its triumphant run till the 81st week,” Kuku ji guffaws.
What’s more, despite all the maar-dhaad and rona-dhona, Nadeem-Shravan’s music was a rage, with romantic songs like “Tumse Milne Ko Dil Karta Hai”, “Dheere Dheere Pyaar Ko Badhana Hai” and “Maine Pyaar Tumhi Se Kiya Hai,” continuing to resonate even after almost three decades. So, is a sequel on the way? “I have a beautiful script ready with me. I have still to narrate it to him but if Ajay is interested and has the dates, I would love to return to Phool Aur Kaante,” Kuku ji signs off on an ebullient note.
In real life, I cut off from a negative person-Ajay Devgn
8:40 AM
Ajay Devgn on 20 years of marriage, and why — and how — he hardly ever loses his cool
Raghuvendra Singh (TIMES LIFE; March 22, 2020)
How different is Kajol on the set and at home?
(Smiles) She’s the same person on the set and at home.
How would you describe your equation with Kajol through the years?
We’ve been married for 20 years. With time, your relationship matures. Your understanding of each other grows. Life eases out. She knows exactly what my habits are, what I’m seeking from life, just the way I know about her. We’re happy being with each other and giving space to each other as well. The balance comes with time gradually, which is good for a marriage.
How has Kajol changed through the years?
(Smiles) There’s no drastic change in her. She’s the same person she was. Earlier, people would say that Kajol says it the way it is. She does that even today. The only difference is that she has become more mature. She understands things better. She reacts in a better way.
Is there any particular value that appeals to you, and you want your children to imbibe it?
I spend a lot of time with my children. I want them to be true and honest to themselves. If they’re honest to themselves, they’ll be honest with us. I want them to respect others and themselves. I tell them that every day. That covers everything. If you respect yourself, you carry yourself with dignity. When you respect others, you uphold your culture. That’s the basic foundation.
Yug seems to be interested in photography. His clicks on your social media pages are interesting…
No, nothing like that. He’s way too young. He plays football, does parkour and indulges in photography as well. Like any kid, he enjoys it all. When he grows older, he’ll be able to decide what he wants to do.
What about Nysa?
She’s in the eleventh class. She has a lot of options to choose from. Children should be allowed to pursue what they like. But we do discuss what’s good for them. The final call is theirs. If you study something, you should be able to enjoy the process. If you force something upon children, they will neither enjoy it nor succeed.
In an industry thriving on PR, you don’t seem desperate for attention.
I’m like this only. I believe once you’ve done your job, you should shut up. People have ears, eyes, mouth… They can understand everything. It’s their job to talk, not yours. Touchwood! People meet me with respect. I feel happy about it. You gain nothing by shouting from the rooftops. Whatever you achieve is temporary. And I don’t believe in temporary things. They never last.
Can we get to know the real Ajay Devgn from your social media handle?
(Smiles) You won’t be able to know. I only comment on what needs to be commented upon on social media. But it’s always the truth. For instance, during elections, I urge people to vote. I wish all on Diwali. If a tragedy is disturbing, I write about it. Jo dil se nikalta hai, woh bol deta hoon. At times, there’s pressure to post something... but I don’t give in to that pressure. Sometimes my team asks me to post something because I haven’t in a while. But I don’t do it just for the sake of it. What I have worn today or what colour I like, why should I post about that?
You are known to be a prankster. We never see that side of you on social media?
Yaar, we all have our personal lives. We do masti mazaak with people we’re comfortable with. Recently, on Diwali my entire family was together. So I clicked a picture and shared it spontaneously. But if you have to post something every day then that’s succumbing to pressure. That’s also a kind of promotion. If you post anything, there always will be positive and negative reactions. If I write something genuinely and it invites a negative reaction, I know that I believe in what I wrote. I stick to that.
How do you keep yourself away from negativity?
I don’t pay attention to it. I don’t bother about it. If I read something unsavoury about myself, I don’t pick up the phone and ask my publicist to look into it. Sometimes, he comes and tells me, ‘Sir yeh chhapa hai.’ I say, ‘Yes I read it.’ The topic is over. In real life, I cut off from a negative person. If I’m working with such a person, then I keep it to the point. Na baat karne ki zaroorat hai aur na jhagda karne ki.
Your father, Veeru ji (Devgn), passed away recently. What do you miss about him?
Yaad toh aati hai. Every day, some moment or the other reminds me of him… more so when I go to his room. Few days ago we had a pooja at home. I miss the usual things he did or said. There’s a picture of him in my office. The moment I enter, I see his frame. Dad couldn’t see the new office. It became operational after his demise.
Apparently, you are soon reuniting with Sanjay Leela Bhansali…
It’s too early to talk about it. We’re in talks but let’s see what happens. It’s like asking someone, are you married. No? Okay, how many children do you have? (Laughs) Bhai shaadi toh ho jaane do pehle. Let’s lock that first.
If you had to remake one of your films, which one it would be?
It would be my first film, Phool Aur Kaante (1991). I’ve thought of a new way of presenting it. I will co-produce it with someone. I’m looking for a fresh face for that. The approach will be different but the emotional texture will be retained.
I always joke that the only genre I’m uncomfortable with, is porn-Ajay Devgn
8:39 AM
Tanhaji may have given Ajay Devgn his career’s highest grossing film, but the 100-film-old actor still feels he’s a misfit in the industry
Kunal Guha (MUMBAI MIRROR; February 9, 2020)
You can tell it is Ajay Devgn from afar just by the way he walks. But he insists that his gait isn’t “cultivated”. We’re in a tent on a hill in Powai, where the star is in the midst of shooting his next, based on the life of legendary football coach Syed Abdul Rahim. Devgn’s latest release, Tanhaji: The Unsung Warrior, the 3D rendered biopic on the 17th century Maratha warrior has rocked the box office (260.67 crores and counting) — and become his highest-grossing film.
The 50-year-old actor, dressed in a plain grey shirt and dark trousers, has a cool 100 films under his belt. And over the years, he has remained a consistent star, steadily adapting to the times. What really sets him apart, however, is his peculiar ability to remain aloof in an industry as insular as Bollywood. “I am not completely fit to be in this industry in that sense,” he confesses, explaining how he could never keep up with the networking game — and “couldn’t care less” even if it curbed his options.
Unlike many of his contemporaries, who meet expectations rather than confound them, Devgn rarely does what’s expected of him. A determined recluse, he admits how hard he strives to limit his off-screen appearances to just film promotions, and how he’s “allergic” to interviews, socialising with peers, and social dos. “I’ve always stayed the way I am… on my own terms and conditions,” he says. “If I can get whatever little success from this, I am happy with that.”
A flying start
Devgn made his debut with Phool Aur Kaante (1991), a film that catapulted him to overnight stardom. He was 18 at the time and having “a wild time”, when his father, the late veteran action director Veeru Devgan, pulled him out of college and threw him into the deep end of the industry. “Before acting, I assisted Shekhar Kapur [director]. Initially, I was more drawn to editing, direction and writing,” he says. “I was certain that if my first film doesn’t work, I wouldn’t roam around with my portfolio, asking for work.”
Over the years, Devgn’s talent has been recognised. He won National Awards for his compelling turns in Mahesh Bhatt’s taut political drama Zakhm (1998) and Rajkumar Santoshi’s The Legend of Bhagat Singh (2002). But by his own admission, he finds it unbearable to sit through his films when they air on TV. “Even in those films that have won awards I feel that I could’ve done better,” he says.
He isn’t, however, his fiercest critic. Devgn often turns to his 16-year-old daughter Nysa for a reality check. “If I’ve recorded a song, I make her listen to it and there are times she’s told me, ‘This kind of music doesn’t work today’,” he says. Surprisingly, he refrains from talking shop with his wife and actor Kajol. But does she have a favourite film of his? “I’ve never asked her,” he says. “But in an interview, she once named Company [2002].”
From goofy comedies (Golmaal) and romantic dramas (Hum Dil De Chuke Sanam) to Shakespearean adaptations (Omkara), Devgn has straddled a gamut of genres, even while recording sporadic success. What has stuck with audiences, however, is his image of a brooding action hero. “I’ve not built myself like that. Maybe it’s my personality that extends across the screen,” he says. “Also, before Ishq, I wasn’t really offered anything else”. Today, he prefers to “rotate genres to kill the monotony”. “As an actor, you can’t be too picky,” he says. “I always joke that the only genre I’m uncomfortable with, is porn.”
No regrets
That Devgn turned down superhits like Karan Arjun (1995), doesn’t bother him. “I don’t even regret those that I did to maintain friendships, which I knew wouldn’t work and were flops,” he says. What about his contemporaries and how their careers panned out? “I get along with most stars of my day. They’re around because they all have something to offer. And you can also be a superstar and not be a great actor, but know how to carry yourself. Even that’s something.”
Known for being inaccessible to the media, Devgn says he wasn’t always as reticent. “From raising my hand on them to sharing a drink and sorting things out, it’s been like any other friendship,” he says, adding that the proliferation of the media has made it difficult to retain that personal rapport he once shared. “Once they even linked me with a heroine who I had never met socially or even spoken to over the phone.”
As producer, Devgn greenlighted a diverse range of films, including the Nana Patekar-starrer Aapla Manus (2018). His checklist of evaluating a potential film is basic. “The story should connect with the audience, make one laugh, cry or engage with the characters.” This theory isn’t always foolproof, he says. “Raju Chacha, for instance, taught me that I need to control my expenses,” he says of the box office dud, which launched his production house in 2000.
Devgn is also known for his military-like discipline towards his fitness goals. We ask him whether he begins his day with half-a-glass of almond milk and a few dates, which catches him off guard. “Who told you?” He adds that he accompanies it with a heavy breakfast, and tries to “avoid carbs in the evening”.
At present, the actor has his hands full with biopics and is currently working on three — Bhuj, Maidaan and Chanakya. The choice of subjects, however, was “entirely based on merit”. “Look at Tanhaji, for instance. Why create fictional characters with that kind of heroism, emotion and vibe, when there are figures in history who offer all this.”
We’re joined by publicity design veteran and Devgn’s collaborator for over two decades, Rahul Nanda. He praises the actor’s ability to keep a straight face “even when life is stressful”. “Life doesn’t give you stress, people do,” the actor blurts out in his trademark deadpan style.
Ajay Devgn and Karan Johar now share a nice equation
8:17 AM
Hiren Kotwani (DNA; June 10, 2019)
Over two years since the Diwali 2016 box-office battle with their respective films, Shivaay and Ae Dil Hai Mushkil, Ajay Devgn and Karan Johar called it a truce last November. Post that, Ajay shot with Kajol for Koffee With Karan and even won a luxury car for the Answer of the Season. Since then, the equation between the two has become warm and friendly.
Ajay, who confessed to having a ‘fear of going out’ and socialising, made an exception when he attended the Simmba success party hosted by Karan, who was also one of the producers of the blockbuster along with director Rohit Shetty.
Now, if Karan wants to convey anything to Ajay, he messages and calls him directly.
“That’s a major change from the time when Kajol, one of his best friends and the ‘darling of his life’, would play messenger, conveying KJo’s message to her hubby,” says a source, adding, “Now, Ajay responds to Karan like a friend and they share a pleasant equation.”
When Ajay turned 50 on April 2 this year, Karan not only wished him a ‘Very Happy Birthday’ but also praised the trailer of De De Pyaar De, which the actor launched on the same day. On his part, Ajay thanked KJo for his wishes and appreciation of the trailer.
Earlier last month, Karan, Rohit and Akshay Kumar marked the starting of their new collaboration, Sooryavanshi, by sharing a picture that also had Singham (Ajay) and Simmba (Ranveer Singh) joining the three producers.
When Veeru Devgn passed away on May 27, Karan, who was out of the country, reportedly called on Ajay and Kajol to share their grief. And post his return to the city the following day, he made it a point to visit the Devgan residence and offer condolences to his friends. Now it’s safe to say that all is indeed well between both the filmmakers.
Veeru Devgan's innovation was far ahead of VFX-Anil Kapoor
8:12 AM
Star and frequent collaborator Anil Kapoor pens a tribute to Bollywood's acclaimed action director
Anil Kapoor (MID-DAY; May 28, 2019)
At a time when there were no special effects, no technology, we would all count on Veeru paaji to make our action sequences look thrilling. We have done several movies together, including Hum Paanch (1980), Roop Ki Rani Choron Ka Raja (1993) and Mr India (1987).The Charlie Chaplin sequence in Mr India became magical because of Veeru ji, Shree [Sridevi] and our cinematographer Baba Azmi. In those days, there was no VFX; just hard-core, live action on camera as imagined by Veeru ji. He had his own innovations and they were far ahead of VFX.
A prime example of this is the train sequence in Roop Ki Rani Choron Ka Raja. Ask anyone about the three best train sequences in Indian cinema and he will name Ganga Jamuna (1961), Sholay (1975) and Roop Ki Rani… The best thing about Veeru ji was that even when he would be explaining a high-octane action stunt, he never made it sound difficult. His briefs would be simple — tu daudega aur usko mukka marega. So, we would feel comfortable while filming the scene. It was only when we saw it on screen that we realised how effective it was.
He was a very positive and helpful person. I remember while shooting for Hum Paanch, we would keep our production money with him. He was our unofficial banker; such was the trust he commanded.
People in the industry admire Ajay's [Devgn] technical know-how. Truth is, the legacy has been passed down to him by his father. Veeru ji was one of the most respected technicians that Bollywood had.
What I admire most about Veeru ji though is his generosity of heart. I met all the young fighters, whom he had brought into the industry, at his funeral. He enabled them to earn a livelihood and buy houses in the city. So many boys would come from Punjab, get off at CST railway station and head straight to Veeru ji or Dharam ji [Dharmendra] for jobs. Kitno ka ghar basaya hai Veeruji ne!
As told to Upala KBR
Rakesh Roshan, Shakti Kapoor remember their friend, action director, Veeru Devgan
8:11 AM
Rakesh Roshan and Shakti Kapoor (MID-DAY; May 28, 2019)
Rakesh Roshan Remembers Veeru Devgan
We worked together in movies like Khoon Bhari Maang, King Uncle, and Karan Arjun, which were blockbusters. When he was a fighter, Veeru would be my [stunt double]. Then, he became a fight director, and we worked together. We were the best of friends. He was a fine technician.[Despite not being] well-read, he would surprise me with his suggestions for action sequences. They were overpowering, and he would execute them with a confidence that would baffle me.
Veeru was a thorough gentleman; lovable and among those I'd count as my good friends in Bollywood. Whenever we met, we did so with warmth. It was shocking to hear of his demise. I could not attend his funeral because I wasn't in a state to do so, hence, I left a message for Ajay, and spoke to Kumar Mangat to give my condolences.
Shakti Kapoor Remembers Veeru Devgan
When it comes to fight masters, Veeru paaji was the only superstar in India. People would stand in long queues to get his photograph, and arrive on sets to watch him [in action]. Behind the screen, he was as big a star as Mohammed Rafi and Kishore Kumar. He was among the best technicians, and well-versed with the camera. He knew many action tricks, and all the directors in the South would ask him to shoot their scenes.He taught me many tricks, including how to break and cover a fall. He was the highest paid [fight director], and among the most stylised. He would be given a business class ticket, and would stay in big suites in Chennai and Hyderabad. He had a style of his own. His technical knowledge was great, the kind that other action masters didn't have. He would carry his own whiskey, and pay for his dry-cleaning bills.
He had the best cars, and was a family man. He loved Ajay a lot. When Ajay was not in the film industry yet, he would ask me why he was so shy. He would tell me to talk to him, because I was bindaas. He was a great cook, one who made the best sookha mutton.
As told to Upala KBR
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.
Veeru Devgan, mentor of son Ajay Devgn and director Rohit Shetty, no more
8:06 AM
DNA (May 28, 2019)
Veteran action director and filmmaker Veeru Devgan passed away yesterday morning at the age of 76 due to age-related health issues, a month before his birthday. The Bollywood senior, who suffered a cardiac arrest at home, was rushed to a suburban hospital where he breathed his last. He would have turned a year older on June 25.
In his career spanning three-and-a-half decades, Veeru had become a staple in countless Hindi films because he was the most-sought-after action director through the 70s to the 90s.
At one stage, his fee was on par with the leading men whose stunts he choreographed! Yeah, the renowned technician became a ‘legend’ in his own right.
He began his innings as an assistant action coordinator in Do Chor (1972). And, got his big break as action-director with Manoj Kumar’s Roti Kapda Aur Makaan (1974). Then on, he directed the thrills for several movies like Khel Khel Mein (1975), Khoon Pasina (1977), Kranti (1981), Himmatwala (1983), Aakhree Raasta (1986), Mr India (1987) and Shahenshah (1988).
Veeru ji, as he was addressed by actors such as Amitabh Bachchan, Dharmendra, Dilip Kumar, Vinod Khanna and Rishi Kapoor, went on to make a big name for himself because of the daredevil and novel stunts that he conceived in mainstream cinema.
In the ’90s, the veteran technician added one more feather to his cap. His son Ajay shot to superstardom in Kuku Kohli’s Phool Aur Kaante (1991). He also directed Hindustan Ki Kasam (1999) with Ajay, Manisha Koirala and Sushmita Sen.
Today’s biggie, Rohit Shetty, started his career by assisting Veeru. When the latter received the Lifetime Achievement trophy at the Zee Cine Awards (2016), an emotional Rohit said that his achievements in life were because of the solid training that he got from his guru, Veeru ji.
Recently, during his interaction with stand-up comedian Kapil Sharma, Ajay said that he became an actor because it was his father who encouraged him to do so. Shah Rukh Khan, Sanjay Dutt, Sunny and Bobby Deol dropped in at the Devgan residence to pay their last respects to Veeruji.
His last rites were performed at the Vile Parle crematorium last evening. Our hearts go out to the Devgans in their time of sorrow.
Kajol, Veeru Devgan and Rohit Shetty at Zee Cine Awards 2016
Ajay Devgn’s father, veteran fight master Veeru Devgan passes away
8:06 AM
BOMBAY TIMES (May 28, 2019)
Ajay Devgn’s father, Veeru Devgan, who is counted among Bollywood’s veteran action directors, passed away yesterday morning at Surya Hospital in Santacruz where he was admitted as his health deteriorated. The final rites were held yesterday at 6 pm in the crematorium at Vile Parle. Devgan had choreographed stunts of over 80 films, including movies like Mr Natwarlal (1979), Kranti (1981), Himmatwala (1983), Shahenshah (1988), Tridev (1989) and Phool Aur Kaante (1991) among others. He had also directed Ajay in the film Hindustan Ki Kasam, which also featured Amitabh Bachchan, Manisha Koirala and Sushmita Sen.
Sanjay Dutt, Sunny and Bobby Deol dropped in at the actor's Juhu residence to pay their respects. Sham Kaushal, Vicky Kaushal’s dad, who is also an action director, wrote a heartfelt post on twitter. He wrote, “RIP Veeru Devgan ji. Just came to know about this sad news. As an Action Director always ahead of his times & as human being par excellence. I became a stuntman with his blessings on 8th August, 1980 as he signed my application to become a stuntman and made me part of his team. My first day of shoot as a stuntman, stunt double and my first outdoor shoot was under him. He fed me in his house when I did not have anything to eat. Can’t help crying while writing this (sic).” Ranvir Shorey tweeted, “@ajaydevgn Heartfelt condolences to you and the family. He was a kind, gentle and generous man. RIP.” South actor Sidharth, too, reached out to the actor over social media and wrote, “Deepest condolences and strength to @ajaydevgn and his family. Prayers and respects to #VeeruDevgan sir, a stellar veteran stunt choreographer. R.I.P.”
I usually don’t watch my films more than once-Ajay Devgn
8:52 AM
Meena Iyer (DNA; February 18, 2019)
Ajay Devgn and comedy have a deep connect. The Bollywood superstar, who has earned his stripes doing ‘intense’ roles, has been equally faithful to the comic genre. That’s why between the Hum Dil De Chuke Sanams, Gangajals and Singhams, the actor, whose eyes are his most eloquent feature, has continuously made room for films that tickle the funny bone.
You don’t need to search hard to notice that he has punctuated the serious stuff with light-hearted movies like Ishq (1997), Pyaar To Hona Hi Tha (1998), the Golmaal franchise and of course, Son of Sardaar (2012). The Golmaal Again star believes that if you don’t make a person laugh, you’re that much less effective. Perhaps it’s for this reason that Ajay continues to flirt with comedy. That thought brings him and us to Total Dhamaal, his Friday release.
A Q&A session with the two-time National Award winner, who thinks comedy is serious business.
You always maintain that comedy is one genre which you’ll never move away from.
Who doesn’t want to laugh? We all have our problems. But I truly believe that if you don’t laugh enough, you haven’t lived it up. Comedy films are an addiction. You can watch them anytime anywhere. Talking of my own movies, I normally don’t watch them more than once. They may be brilliant, but I just don’t have the inclination to see them again. However, if it’s one of my comedy films, I stand around the television and definitely watch the funny scenes for at least five to seven minutes. I repeat, all of us need to laugh out loud. But that’s not my reason for doing comedies. I’m doing it because I enjoy the genre. Of course, I’m against doing just buffoonery. In fact, the other day someone close to me observed that I even do comedy seriously.
Really?
Yes, the person said that it’s funny the way you do comedy so seriously.
Comedy and you go way back, right?
Ya, Ishq and Pyaar To Hona Hi Tha done in the ’90s were funny. The Golmaal franchise has continued for a decade and there have been innumerable other films including Son Of Sardaar. When I have a release coming up, the first thing my children (Nysa and Yug) turn around and ask is, if it’s a comedy? They are excited if it is. If it’s not, then they’re like, “God, is the ending sad?” They are like, “Will it make us cry?” The questions don’t stop.
So, you’ve got your own home-grown audience for comedy...
Exactly. And I think that’s the case in every house. The Kapil Sharma Show is a hit with families because everyone wants to sit down together and share a laugh. Likewise, the Golmaal and Dhamaal franchise have a faithful following.
Besides subscribing to the view that laughter is the best medicine, you have also turned over a new leaf. You’ve become quite a party-goer...you went to Bobby Deol’s birthday bash last month.
Bobby is my neighbour, he lives across my home. I just had to step out and step in.
A few nights before that you also went to Karan Johar’s party.
That was only the other night that I went out. So, it’s only two occasions that you’re talking about.
It’s nice that you have finally learnt to step out.
I try to make the effort. Earlier too, I did try and on many occasions, I was dressed to go out. But then all of a sudden, I changed my mind. I have no clue why I did that. I would run away from the thought of going out. However, I’m attempting to change and become more social. I like meeting friends, so I guess I will make the effort.
Talking of your funny bone, your answers on Koffee With Karan (KWK) were witty beyond words. You even won an Audi for the best answer. We heard you beat Aamir Khan?
I have no idea about who I beat. I just went there and decided that I was going to let my guard down. The nature of the show is such that you need to lighten up. Extempore casual talk zyada funny hota hai. People think I’m a serious person, but I can be a lot of fun.
Total Dhamaal has you reuniting with Anil Kapoor and Madhuri Dixit-Nene. Anil says that both of you never treat each other like a junior and a senior.
We all get along very well. I respect him as an actor and a senior. I keep telling him that no one can work as hard as he does. He’s been working since the early ’80s, I think his enthusiasm and spirit are indefatigable. He can keep going on. He will do retakes till he is satisfied with a shot. Not all of us are like that. That is something we all need to learn from him, or make him unlearn (smiles).
But, apart from that, Anil is so much fun. He has no ego, like ‘I’m your senior’. I can tell him whatever I want to. I like him and respect him, I can pull his leg and he also responds the same way. I have seen him since I was quite young because my dad (action-director, Veeru Devgan) has done a number of films with Anil.
Yes, he has said he has a long innings of working with your father.
I remember when I was growing up, he used to come home. So, I know him since then. It’s a fabulous rapport that we share. And it’s so nice on the set, to see everyone get along with each other, it’s like one nice picnic. The funny thing on the Total Dhamaal set was that no one wanted to go home after their scenes. Even if someone had packed up, we would sit on the set and chat. Where do you find this kind of camaraderie? It’s a bit rare.
Normally, it’s said that the director is the captain of the ship. But this time it’s said that you were the godpa on the set.
What rubbish. I think that’s a piece of misinformation. Why would you even say something like that?
Oh ok, sorry. But one heard that you kind of put together the whole project.
Never. It is Indra Kumar and Ashok Thakeria’s baby all the way. I love my association with Indu ji. He’s a really positive guy.
How did you step into this Dhamaal franchise?
Indu ji was struggling to put this sequel together. I heard the narration, I liked it, so I was in. When the shooting began, everyone in the industry was so happy for Indu ji. He has tremendous goodwill, he is a genuinely nice person and he suffers because of that. He can’t say no to people. So, we have to tell him that if you can’t say no to people, we will do it for you.
It was also nice to see Akshay Kumar tweeting for Mungda, your song with Sonakshi Sinha.
Akshay and I have always liked and respected each other. We both started out together, practically, just one year apart. We lead different lives and don’t exactly socialise with one another. However, whenever we meet, we’re chilled out. I know I can pick the phone on him and ask him something and vice versa. What’s also nice is that he is in his own world. He’s not keeping tabs on anyone. I’m also the same. We’re two of a kind.
Anil (Kapoor) was saying Salman (Khan) and you are confident guys. You have no insecurities with your co-stars...
Yeah, we don’t. After 25-27 years, what insecurity will we have? Agreed, just before our film’s release, we’re jittery. But I won’t call that insecurity. You work hard and if something hasn’t shaped up as you envisioned, you get upset. That is not insecurity. It’s anxiety. Sometimes, you blame yourself and promise to be more careful the next time while choosing the projects.
I couldn’t sleep for days, I was so touched by Amitabh Bachchan's humility-Satish Kaushik
7:53 AM
Roshmila Bhattacharya (MUMBAI MIRROR; April 19, 2018)
On Monday, in the silver jubilee year of his directorial debut, Roop Ki Rani Choron Ka Raja, Satish Kaushik surprised many by candidly admitting on the social media that the film was a disaster at the box-office and apologizing to producer Boney Kapoor who went broke after the much-hyped heist-drama which opened on April 16, 1993 . “Over the years, I’ve come to realise that every failure is a lesson and I’m no longer swept away by success or disappointed by a flop. Maturity lies in owning up to your failures,” the actor-director philosophizes, pointing out that he will always be grateful to the Bollywood biggies, including Boney, his actor-brother Anil Kapoor, writer-lyricist Javed Akhtar, composer Laxmikant Pyarelal, action director Veeru Devgan, choreographer Saroj Khan and leading lady Sridevi for putting their faith and Rs 9 crore — the highest budget for a Hindi film in the ’90s — in a newcomer who had been an assistant to Shekhar Kapur on Boney’s earlier production, the fantasy-adventure Mr India.
Satish informs that after Mr India, he’d been offered a small film but was advised by his mentor, Javed Akhtar, to wait for a big break. And Roop Ki Rani… was a dream beginning with everyone working towards helping him translate his vision on screen. The film ended with a James Bond-like train robbery, with the train chugging along, Anil hanging over it from a helicopter and another helicopter hovering close by to film the sequence. “It needed careful planning and Boney, Veeru ji, Baba Azmi (cinematographer), Bijon Das Gupta (art director), Javed saab and I travelled in the maal gaadi for five days to ensure that there would be no hurdles or glitches. Boney even got us walkie talkies for the 19-day schedule in Nhava Sheva so coordination could be perfect,” reminisces the then debutant director, admitting that despite all their efforts, Anil hit himself on a rock when hanging from the helicopter but sportingly shrugged off the injury and continued shooting. Satish adds that Boney also had a wagon added to the goods train which served as a pantry and served tea and snacks between shots. The large-hearted producer then had the entire train painted the same colour so it wouldn’t disrupt continuity in the long shots.
Another USP was the lavishly mounted song “Dushman Dil Ka Jo Hai Mere” which had a knife-wielding Sridevi coming down the mouth of a Sphinx erected on an Egyptian-style set in Mumbai’s Film City studio, not looking down even once. Satish recounts that after seeing some portions of the film at a trial, including the song, Amitabh Bachchan tried to replicate her moves on the stairs in his home and admitted to stumbling every time.
Bachchan was equally impressed with Satish’s direction and wrote to him saying he was a struggling actor who wished to work with him. “I couldn’t sleep for days, I was so touched by his humility,” the maker says, confiding that he’d carry a copy of The Illustrated Weekly of India in which Sridevi had listed him for his passion and hard work among the nine people she was most influenced by, among them legends like Yash Chopra and MGR. By the time the film wrapped up, Satish was married and his wife, Shashi, was pregnant. “For me, it was like giving birth to a baby even as another child waited to enter the world. I thought I was the luckiest man till the first houseful premiere. Then, through the next eight premieres, with the film receiving lukewarm reports, people started finding excuses to stay away and at the last one, it was just Boney, Anil and me,” he flashbacks, adding quietly that after the film, he also lost his son Kush.
Yet today, Satish can look back at his ‘grand’ failure with a smile and assert that irrespective of how it fared, he is still very proud of Roop Ki Rani Choron Ka Raja. “The only regret is that the one person who was so special, Sridevi ma’am, is no longer with us,” he says.
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