Fenil and Bollywood

Posts Tagged ‘editing

Karan Johar gives his new year plans a miss; will remain in Mumbai to complete the last leg of My Name is Khan. SRK follows suit; will spend time with family at Mannat

By Kunal M Shah (MUMBAI MIRROR; December 31, 2009)


Karan Johar and Shah Rukh Khan are not just the co-producers of My Name is Khan, they plan and cancel their holidays in tandem too. While Karan will stay in town to work on the editing and soundwork of My Name is Khan; SRK will have a lazy time with family at his residence in Bandra, Mannat.

Karan had initially planned to go abroad to bring in the New Year and SRK was supposed to stay at his Dubai villa. However, SRK will return from Dubai to spend a quiet new year at his house.

Our source said, “Karan had cancelled his new year plans last year, because of the 26/11 attacks. He has been visiting Goa for the new year for the past three to four years. This time, he was really looking forward to visiting either LA or New York. He was forced to cancel his trip as he is busy with the editing and some final technical work in the sound department.

Shah Rukh Khan Karan Johar

SRK had planned to spend the New Year at his Dubai villa with family. But he has also changed his mind and is now returning to Mumbai in the afternoon.”

Karan Johar could not be reached as he is busy editing his film and SRK remained unavailable for comment.

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Source: IBOS

BY SUBHASH K JHA

Raat Gayi Baat Gayi
Starring Rajat Kapoor, Neha Dhupia,Irawati Harshe, Vinay Pathak,Anuradha Menon, Dalip Tahil ,Navneet Nishan, Aamir Bashir
Directed by Saurabh Shukla
Rating: ***

Somewhere on the second-half of this slightly seductive jigsaw about a one-night scam, filmmaker Sudhir Mishra shows up as Neha Dhupia’s father who drops in to have a chat with his sullen sultry daughter on the way to the airport. Little does the stoic Mishra know beti-babe has two men stashed away in a cupboard in the living room that looks consciously like a prop on a stage- set.

Quirky sex comedies are allowed their moments of eccentricity. Last time we saw a benevolent patriarch stop over in transit was Sanjay Dutt in Rohit Shetty’s comedy All The Best.

Maybe at this point Shukla deliberately wanted to introduce an element of staged comedy.After all, isn’t the world a stage? Shakespeare got there first. But hell. Saurabh Shukla is panting from behind to catch Sheakespeare’s comedy of ‘eros’ in a modern context.

Saurabh Shukla(who can be quite a funny-guy on demand) has made a quirky sometimes-crisp sometimes-placid look-see at marriage and infidelity. The seductively – paced work is set at a party hosted by a loud Punjabi clueless woman(played with much gusto by Navneet Nishan) whose amiable husband Dalip Tahil we soon come to know, is cheating on his plump wife with the svelte seductress on the block played by Neha Dhupia who seems to invite more male attention than is healthy for any girl with a respectable appetite. And we aren’t talking about her tummy.

Tahil isn’t alone. Vinay Pathak(playing the goofy slightly stupid and undiplomatic regular guy once again) is cheating on his wife Anuradha Menon(the hilarious Veejay Lola trying hard not to be funny,and succeeding) by checking out porn on the internet.

“At your age?” tut-tuts Tahil before himself being caught with his pants down. Though nothing much up at his age.

But our main potential philanderer is Rahul( Rajat Kapoor,as suave in his sleaziness as ever), married to the sullen Irawati Harshe who befriends the all-round resident siren(Dhupia) at a party , gets drunk and then forgets whether he actually did anything naughty or not. Hangover, anyone?

“I can do it even when I’m drunk, no problem there,” Rahul (Rajat Kapoor)says vainly to his porn-fed pal.One of the problems here is that everyone speaks in Hindi because…well, they’re part of a Hindi film when they’re characters who would be comfortable in English. Having said this and that, the characters seem to be effortlessly conscious of their authentic bearings. None of the performers strays from the not-so-straight and borrowed path of betrayal, deception and infidelity.

The Rahul-Mitali marriage has a twist in its tail at the end. It doesn’t shock you. It just makes you sigh. Saurabh Shukla’s direction embarks on a journey through one night of steamy sensations. The revelations are hardly shocking, just diverting.

Stylishly cut(Sankalp Meshram’s editing is amazing in its austerity) the material’s chic movement doesn’t quite justify the content. But the narrative has moments that spill out the acerbity underlining urban marriages which are at best functional and at their worst, lies told to keep up an appearance of domestic smoothness.

The film exudes the scent of intelligence and competence. The actors all know their jobs. Most of them have earlier been through this kind of sexual-moral dilemma in some form or the other. The cutting edge is missing . But the proceedings never get cumbersome.

By Subhash K. Jha, December 14, 2009 – 11:13 IST

Shahid Kapoor, Ken Ghosh Ken Ghosh admits he had loud arguments with Shahid Kapoor on the sets during the shooting of Chance Pe Dance.

But it had to do with Shahid’s suddenly-saturated schedules.

Says Ken, “For the first time in his career Shahid was doing three films at the same time-Kaminey, Dil Bole Hadippa and my film Chance Pe Dance. Naturally there was a conflict of interest.”

Ken admits there were loud arguments over Shahid’s schedules. “I’d ask for three days. He would have only one day to spare. I’d naturally be upset. Then understandably, Shahid wanted time off. He couldn’t be seen on my set straight after shooting for one of the other two films. This naturally led to heated arguments. For me as a director it was okay to come on the sets without sleep. But Shahid had to catch up on his resting time. Or the dark circles would have shown on camera. And since Shahid is fair-complexioned those dark circles would be even more visible.”

The last thing that Ken wanted was for his hero to fall ill. “Priyanka Chopra had to be hospitalized because of overwork and exhaustion. I didn’t want Shahid to go through the same experience.”

The effort has been worth it for both Shahid and Ken. “Shahid’s dancing in Chance Pe Dance is the film’s mainstay. But his performance is not just about dancing. Some of the things he has done with in the dramatic scenes took me by surprise. Shahid has brought subtle expressions into scenes which I didn’t catch while shooting. Only during editing I realized what he had done.”

Ken Ghosh who introduced Shahid Kapoor in Ishq Vishq five years ago admits the actor has changed. “Isn’t change inevitable? We all evolve with time. Shahid is no exception.”

So are the stories of a rift between the two true?

Ken doesn’t deny the fact that there were heated arguments and fights during the making of Chance Pe Dance. “But they were all for the betterment of the film. See when Shahid did his first film Ishq Vishq with me he only had that film on hand and was able to give me his full attention.”

BOLLYWOOD HUNGAMA.COM

In the process of eliminating handful of terrorists, we end up creating many more-this best describes the policies of Western developed powers who are hell bent on making the world more democratic but adopt inhuman ways to achieve the end point. Kurbaan throws light on this sensitive topic and thankfully treats it well. The flick throws a spate of questions and forces you to think, discuss and debate. But it doesn’t get preachy and hence it’s not like one of the several films on terrorism that are made for a niche audience. The film is thrilling, has some wonderful twist-n-turns and includes some moments of love and passion too. All this make Kurbaan one of the finest films of the year-one that can’t be missed!

The story of the movie: Ehsaan Khan (Saif Ali Khan) takes the job of a teacher in a university in Delhi where he comes across a psychology teacher, Avantika (Kareena Kapoor). He instantly falls in love and she also ends up liking him. But unfortunately, she’s called back to New York where she originally belongs. Realizing that it would be wrong to have a long-distance relationship, Ehsaan also moves to NYC with Avantika. But before that, they marry. After moving to New York, they buy a new house in a neighborhood full of Asians, conservative Muslims to be precise. The neighbours invite Ehsaan and Avantika for dinner so that they can get familiar with each other. Soon, Avantika realizes that things are not fine in the neighbourhood as they seem and finally, realization dawns upon her-she has been as used as a pawn in a dangerous game.

The beginning 20-25 minutes focuses on Saif-Kareena’s courtship and may not impress. It was the weakest part of the film and wasn’t treated well. But thinks take a good turn with the song Shukran Allah and when the couple shifts to New York. The film engrosses from the scene where the neighbours invite them for dinner. From this sequence, the film turns into a roller coaster ride with lots of unpredictable turns. The entry of Riyaaz (Vivek Oberoi) in the narrative adds to the icing on the cake.

The intermission point was brilliant and fortunately, unlike other films, Kurbaan doesn’t fall or gets slow in the post-interval portions. In fact, the 2nd half also keeps you hooked onto your seat. A number of sequences are memorable in this hour. Kirron Kher sharing the tragic story astonishes you and Kher’s mind blowing performance only enhances the impact. Same goes for the scene where Saif is nursing the wound with little help from Kareena after getting hit by a bullet. The way the blood tickles down and the way Saif screams-man, it gives goosebumps!

The last 30 minutes of the film is undoubtedly the best portion of the film. The tension that is created in the climax and the engrossing and captivating direction is truly appreciable. The film ends on an acceptable note.

Regarding the flaws, as mentioned before, the first 20 mins doesn’t work. Also, the film is full of violent and gory scenes which might not be liked by some sections. And the editing wasn’t upto the mark. More about it later!

Kurbaan is a rare film where the cast and most of the crew have worked exceptionally well in all respects. Saif Ali Khan was outstanding in his role. He looked dapper in his new look and performance wise, doesn’t provide even a miniscule chance of complain! Thus, Kurbaan can safely be added to the list of ‘finest performances of Saif’. This year has been particularly lucky for Saif with his home production Love Aaj Kal being a super hit and now even Kurbaan has been appreciated. His next Agent Vinod with Kareena is also expected to rock! Way to go Saif!

Kareena Kapoor has exposed as minimal as possible and still managed to look stunning. She’s always been delivering fine performances and in Kurbaan too, she does a perfect job. Watch out for the scenes where she discovers that she has been used and in the climax. She proves once again as to why she’s one of the top actresses today! Great going!

Vivek Oberoi steals the show with his wonderful act. In fact, his acts impact more than Saif-Kareena at several points in the film. Audiences as well filmmakers would surely sit up and take notice of this highly talented actor who was neglected in the past due to many reasons. He is expected to shine in his next films, Prince and Rakta Charitra too!

Kirron Kher, like Vivek, leaves a mark in several scenes. For a change, it was good to see her in a different kind of role than her usual stereotypical ones. Om Puri performs with ease. Dia Mirza looked charming and impresses with her special appearance. Nauheed Cyrusi does a fabulous job. Asheesh Kapur, who plays her husband, was great. Kulbhushan Kharbanda, Aakash Khurana and others were good.

Salim-Sulaiman’s music was haunting and songs suited the film well. Shukran Allah, Ali Maula and Kurbaan Hua are the three best songs. Ali Maula leaves a mark. The duo’s background score was electrifying and they may bag the Best Background Score award this year.

Anurag Kashyap and Niranjan Iyengar’s dialogues were sharp and top notch. Best dialogue of the film was, “Ek minute ke liye bhi ye mat sochna ki ye allah ka kaam hai!Parvez Feroze’ gory action enhanced the reality of the film. Asif Ali Shaikh’s editing wasn’t upto the mark. One can notice that desperate attempts were made to haphazardly cut down mini portions of scenes to reduce the duration of the film as much as possible. Not good!

Rensil D’Silva, the screenwriter-director scores in his dream debut. Although the direction wasn’t perfect, the film managed to make an impact and give out a strong message. The screenplay was undoubtedly intriguing.

And finally, kudos to Karan Johar for writing the film and also for producing such a hard hitting flick. KJo was criticized for making lovey-dovey films only. But with his last two films and Kurbaan, he has proved that he’s here not only to rake in moolah but also to provide fresh and interesting flicks! Hats off!

Some of the best scenes of the film:
1.       The songs Shukran Allah and Ali Maula
2.       Ehsaan and Avantika at the dinner in the neighbour’s house
3.       Avantika meets Dia
4.       The plane bombing sequence
5.       The intermission point
6.       Riyaaz at the Saif’s lecture
7.       Riyaaz’ quick conversation with Avantika at the mall
8.       The scene at the sandwich parlour
9.       The coffee scene
10.     The climax

On the whole, Kurbaan is an engaging and thrilling film that impresses and engrosses thoroughly! Go for it and have 160 minutes of captivating and thrilling time!

My rating-**** out of 5!

This review first appeared on MouthShut.com: http://www.mouthshut.com/review/Kurbaan-180014-1.html


Raju Hirani aka the creator of Munnabhai is not a wildly funny man though he is given to fairly frequent bouts of laughter. At the moment, he is completely immersed in the editing of 3 Idiots; while doing so he enters that world and actually forgets the real world, he says. We drag him back to answer some questions
By Indu Mirani (MUMBAI MIRROR; September 09, 2009)
Say something Munnabhaiesque

No tension. Apun hai na. (laughs)When making Lage Raho Munnabhai did the success of Munnabhai MBBS put any pressure on you and is a similar pressure delaying the next in the Munnabhai series?

An exclusive behind-the-scenes look at 3 Idiots, which is one of the most awaited films of the year. Director Raju Hirani has a discussion with Aamir Khan and Madhavan on the sets of the film


It’s actually how you look at it. I have never looked at it as pressure from any quarter. If at all, it’s me who keeps pressurising me and that bogs me down. I actually work too hard on my scripts. I keep asking myself, “Is it good enough?” I’m not usually worried about what somebody else is going to say. You need to feel very happy about what you are doing. If you are not happy, then there is pressure.

We (Vinod Chopra and me) are not trying to cash in on the success of the two Munnabhai films. If we were doing that then we would make one Munnabhai every year. We would have Munnabhai cartoons, comics and animation. We could actually milk the brand in that sense. The reason for not actually making another one is because I am working on the script and I am not happy with the final script which is also what happened with Lage Raho Munnabhai. I took so many years to make it because I wasn’t too happy with it.

You have to strive to think of a unique idea and sometimes, for that, you have to keep waiting till it strikes you. With Munnabhai Chale Amrika, I have reached a stage where I have found a completely unique idea. It is not a ‘fish out of water’ situation in which two characters go from this world to that world. That’s done to death. It’s not as simplistic as that. It’s much funnier and much deeper.

How does a comic scene evolve?

It’s not about evolving a comic scene or a dramatic scene. You just do whatever the story needs. I work with Abhijat Joshi and we completely go by the gut feel of the scene. If it is a comic scene and when I am narrating, we look into each other’s eyes and if it makes us laugh, then that is a scene that is working. And when it is an emotional scene, our eyes get wet. So it’s completely from within, rather than structuring it, or trying to manipulate it.

You have worked with an intelligent actor like Aamir Khan (3 Idiots) and a less structured actor like Sanjay Dutt. How is your approach different with actors?

Sanju (Sanjay Dutt) is completely an instinctive actor. If I ask him for a rehearsal, he will look into my eyes and say “What? You want to rehearse one month in advance?” which is completely impossible. And I know if I make him do that, he will come prepared and will fail miserably. But if I ask him to do something impromptu, he does it the way you want it. If I think it’s not right, then he will instinctively do it another way. Then there is Boman Irani, who, if I don’t rehearse with, will die on the sets. So he has to be prepared a month in advance. Like when he was playing Lucky Singh, I had to take him to meet some Sardarjis, he had to sit with them, he had to drink with them, he had to observe them, video shoot them. Arshad was completely given the lines, he got the gist and modified them. If I tell him to follow the lines as given, he will not be able to do so. So with every actor, you have to realise his strength and utilise it. Like Aamir loves to get involved with the script, he analyses the script, he prepares a lot. There is a completely different joy in working with Aamir.

But that’s the job of a director. When you work with Boman, as you enter the set, you have to go to his van and hold his hand and talk to him for 10-15 minutes every day, otherwise he feels neglected. I may not do the same with Aamir. I know he has rehearsed and understood the script and he will come on the sets and perform. Actually direction is also about human resource management.

What happens when there are three very individualistic people like you, Vinod Chopra (as producer) and Aamir Khan involved with a film. Do sparks fly?

It works like magic. Vinod is a great producer. He takes care of a lot of the producer’s problems, so that’s an area I don’t have to worry about. Actually, in the last two films I used to get involved in the production too. This time, I am running out of time, I am locked up here editing while he is taking care of marketing, and distribution. Aamir says he is good at marketing, and somebody else is good at distribution, so everybody is doing their defined roles.

How true are you keeping 3 Idiots to the book by Chetan Bhagat Five Point Someone?

3 Idiots is inspired from the book but it is completely different. I would say just five per cent of it is the same. Books and films are different. So the moment you decide to pick up a book and make a film as it is, it will be a disaster. It’s a nice book, but it’s anecdotal and films can’t be anecdotal. It has to have a story. The reason I mention this is because people should not go to the theatre thinking, we are going to watch Five Point Someone and later find out that it’s a completely different film.

When you get stuck with your writing, what do you reference for inspiration?

I actually don’t go back to films or even books as reference points. If we get stuck when writing, we keep prodding at it and don’t move ahead. Abhijat and I do very stupid things if we get stuck at something. We move out of the house for a walk and tell ourselves that we won’t return till we get a solution. There have been times when we haven’t returned till five in the morning and 99 per cent of the time, we have cracked it. We could be sitting at Bandstand at 4am and are just about to go back, suddenly one of us will say, “Lets try for three more minutes” and in those three minutes we will generally get a spark of an idea. We actually work for 16-18 hours everyday on the script. Abhijat stays in the US, I work through the day and send him an email. He works through the night and sends me an email. We completely work like maniacs. We do stupid things. Like once we stopped at a signal thinking over a scene and we didn’t realise that we had stopped there for 20 minutes. Mostly we pick up stories from our life.


Raju Hirani’s favourite five films

Raju Hirani

1) Pyaasa. It’s one of Guru Dutt’s finest works.

2) Anand for the kind of story that it is – a dying man still trying to live a great life.

3) One Flew Over The Cuckoo’s Nest is one of my favourite films. I love stories where you fight against the system for your rights. That’s what came through in Munnabhai too.

4) Amol Palekar’s Golmaal. It’s a funny film. The whole idea of making a film revolving around a moustache is a unique idea.

5) Lagaan again for its unique idea. For me Lagaan fits the bill of, theoretically speaking, a perfect script.

Sanjay Dutt’s refusal to grow a beard for Lamhaa and reluctance to give more dates leaves producer Bunty Walia with no choice but to do away with the actor’s additional scenes
By Vickey Lalwani (MUMBAI MIRROR; August 28, 2009)

Bunty Walia

Bunty Walia, who had categorically stated not too long ago that he needs Sanjay Dutt for an additional four-five days to complete his forthcoming film Lamhaa, has now decided to release the film without shooting those portions with the actor. Moreover, Bunty and Sanjay are not even spending too much time together as they used to earlier. The evening drink and gupshup sessions at Sanjay’s Bandra residence are all a thing of the past.

The story goes that Bunty wanted Sanjay Dutt to grow a full beard once again to shoot for the additional portions but Sanju, who had shaved off his beard for his look in other films, was in no mood to grow it again to suit Bunty’s schedule. Even though Bunty initially waited for a long time and repeatedly coaxed Sanjay to shoot the pending portions, he got tired of waiting and eventually decided to do away with the additional portions to be shot with Sanjay.

The reason why Bunty can’t wait any longer is that he has borrowed a lot of money and has also sold a few of his cars to meet the budget of Lamhaa. Any further delay would be a bad financial decision.

Rahul Dholakia, director of Lamhaa, said, “We finished Sanjay Dutt’s portions in January. We are now editing the film.”

Bunty claimed that Sanjay was gracious enough to ask him if he wanted him to grow the beard again. He also claimed that Sanjay and he have not had a fall out. However, he did not deny that he seldom spends time with Sanjay these days. He said, “Sanjay has been busy shooting for the past six months all over the world. Where is the time to spend with him? Also, he is off drinks now. You want me to land up in somebody’s house and force him to drink?”

Sanjay Dutt

“I had a feeling that we need Sanju for a couple of extra days to shoot for Lamhaa but Rahul proved me wrong. Recently, Rahul came back from the US and I checked with him. He has seen the scenes shot for the film and he doesn’t require any dates from Sanjay. Whatever we had shot with Sanjay for 40 days earlier is enough for the film. Besides, I am a stand alone producer who doesn’t have any corporate backing for Lamhaa. My money has come from the bank for which I am paying heavy interest. I can’t wait any longer,” added Bunty.

As she gets ready to unleash her sense of humour on unsuspecting viewers with a new chat show starting tomorrow night, where she gets stars and other people to reveal unknown facets about themselves, Farah Khan takes time to introspect on her own life
By Indu Mirani (MUMBAI MIRROR; August 22, 2009)
•      Let’s start with your favourite decade, the 1970s. In 1970 you came from this extremely rich family and by 1971, they were paupers. How did this happen?

I was five years old in 1970 when my dad (actor-producer Kamran Khan) had a spate of hits. The films were not A-grade movies but he was doing very well in his own right. I remember we had the first Impala car. Sajid had just been born and I was this absolutely spoilt child. Then in 1971 he made a film called Aisa Bhi Hota Hai into which he put all his personal money and the film bombed on the opening Friday. I remember it because I had gone to the theatre on Friday very excitedly with my grandmother and the theatre was empty. By Monday people stopped coming to our house. It was like a funeral. Our house usually used to be full of people. But by Monday, it was empty. And then there were bad times for 15 years till 1985, when he died. It was a very hard time, especially for him.

•      What are the good things you remember?

There are too many! I remember that everyday I had to go and buy a new record, by which I mean EPs or LPs. I was a spoilt child, so everyday, I was taken in the Impala car to Linking road, where there was this shop Twist and I would buy one. There used to be big parties in our house. Sanjeev Kumar, Jeetendra, Kalyanji bhai, Anandji bhai and people like that would attend.

•      And the bad times?

The bad times lasted longer than the good times. And also I was much older then. I know it sounds very filmi, but like you saw in the 1970s’ films that things are being sold from the house… it was literally like that. The one time I was really upset was when my gramophone had to be sold. But that had to be done because there was no source of income. My father was a very proud man. The Impala was sold and he obviously wouldn’t travel by bus to go anywhere. So he would just be home, and then he started drinking. I think those were really bad times.

•      Does your confidence stem from an ‘I will show the world’ attitude?

No, I don’t think so. I was not an angry, bitter person, but Sajid was. He had a very difficult time. He is five years younger than me and unfortunately he had been put in a very posh school. I went to a normal convent school but he was in a very posh school and being the poor child there was not helping. He used to be this very angry child and at one time we really thought that he was going to be a juvenile delinquent. So I am really very proud of what he does right now and he has really made something of his life. He used to go around scratching people’s cars saying ‘I don’t have a car so I will destroy this car’. He was really like this devil child. I didn’t grow up to be bitter. It was just something I had to cope with and look after Sajid too after my mom started working. Suddenly I was the responsible person of the house. By that time my mom had left my father.

I am still very insecure if I have not made a particular amount of money in a month. After a point, our house was run day-to-day. The people in our building would use our flat to play cards in. They would remove a kitty, and it would be some 30 bucks for the entire day. And that would be used to buy the milk and the grocery. And if for some reason they didn’t play that day, then those 30 bucks were not there. I remember we used to run the house on 30 bucks a day.

If all this had not happened to me I would not be who I am today. Maybe I would not have that determination to do something and be something in life. I remember in college I didn’t know what I wanted to do but I wanted to be somebody. There had to be something different about me. So I would probably go out of my way to make friends and please people. Maybe I took to dance because it made me feel special. I would go to a party or a social event and do my Michael Jackson moves and everybody would look at me. And I used to like that attention.

Salman Khan’s baby picture as revealed in one of the episodes of Farah Khan’s new show

•      How has all this experience and wisdom helped you in the show?

When I was approached to do the show I knew it had to be a slice of life show. And it could not have been just another show where the stars come and plug their films or say all sorts of things that they themselves don’t believe in. It had to be something about their lives and which is very personal to them, something that nobody knows about them. Like do you know that the sexy glamourous Bipasha is the ghar ka beta. Some of her childhood experiences are quite amazing and she had tears in her eyes when she was speaking about it.

•      Having said that, tell me something about you that nobody knows.

(Laughs) There are a lot of things that nobody knows and shouldn’t even know! I am a very domesticated housewife at heart. I listen to what my husband tells me. Not all the time, but I do respect what he says. Everyone thinks that I am this dominating creature and my poor husband must be henpecked but it’s completely the opposite. Whatever he says happens in the house, and how! I go outside and I shout and scream at people, but not in the house. In the house I’m a bheegi billi.

•      Give me an example of one thing he has said…

Just the fact that he said our children should never be publicised; I respect that and I haven’t, despite having gotten so many opportunities to be on covers of magazines and papers. But because he is not comfortable with it, it will not happen. Till he says it’s okay to do it.

•      Is SRK the most important man in your life?

He is one of the most important people in my life, regardless of man or woman. I think when you have babies; no one else stands a chance, not even the husband. The most important people in my life right now are Diva, Anya and Czar, then of course Shirish, Shah Rukh, Sajid.

•      How has Shirish (Kunder) influenced your style of filmmaking?

I have become far more aesthetic. Even in editing. He is far more a visual director than I can ever hope to be. I am little boring on that front, I am a little straightforward.

Jaanemann was far ahead of its time. I think if it would release today, the audience would be ready for it. Like a Kaminey today that you either love or hate. There is a certain audience today that has seen world cinema and is ready for this new age cinema. I think the story was a bit old fashioned but it was presented in a snazzy way. He learnt a lot from it. His new scripts are just fabulous. The way he thinks of constructing a scene is something I can’t think of. He just thinks out of the box.

•      You share a home and three kids, how much of your movies do you share.

Quite a lot. We are each others bouncing boards. Though some times my movies go over his head and he says, “I can’t understand what you are doing.” He tells me, “When I read it I am like what the hell but you do it with confidence.” He gives me all his scripts to read. Our movies will never be alike which I think is very healthy if we are going to be in the same profession.

•      Any surprises on the show?

Lots. I didn’t know that Hrithik still does one hour of speech exercises every day. He is afraid that the stammer will come back if he doesn’t do it. Or the things he went through as a child. As a 10-year-old boy he would sit in his room for 36 hours and practice one line to tell his cook, that I want to eat this, without stammering. You get goose bumps when you hear all this.


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