Fenil and Bollywood

Posts Tagged ‘Nagesh Kukunoor

By Subhash K. Jha, December 17, 2009 – 12:26 IST

Sameera Reddy What would’ve been a routine birthday bash for Sameera Reddy on Sunday night turned out to be a very special occasion when Priyadarshan, who has just given the actress her first hit since Race in De Dana Dan, turned around and said, “You’re in my next film.”

Sameera who has become very close to Priyan and his wife Lizzie and in fact spends all her free time during her frequent visits to Chennai in their house is still reeling in pleasure. “I couldn’t have got a better birthday gift. Firstly it turned out to be Priyan and Lizzie’s marriage anniversary. So we had my birthday and their anniversary party at Shristi Behl’s residence. All three of us Lizzie, Priyan and I cut a cake.”

The icing on the cake was Priyan’s impulsive offer. “I don’t need to ask him what it is or in which film. I trust him completely. He gave me a role in De Dana Dan that did justice to my presence. This, at a time when I was desperately trying to shed my sexy image.”

Not many people know this but Sameera has a secret special appearance in the Bihar based film that Priyan is shooting with Ajay Devgn, Akshaye Khanna and Bipasha Basu.

“How do you know about this?” Sameera demands to know. “So that makes it three films with Priyan. I’m really lucky to have Priyan and his wife as friends. Now when I go to Chennai is like a second home to me thanks to the work that I do. In fact my latest Tamil hit was mixed in Priyan’s studio in Chennai, so the bond thickens.”

Her prestigious film Nagesh Kukunoor’s Yeh Husla remains stuck.

Says Sameera softly, “That’s because the producers Percept have bungled. They’re in a real financial mess. They owe almost everyone associated with them quite a lot of money.”

Sameera herself remains solitary in Mumbai. “My sister Meghna is now married to a Greek and settled on the most exotic Greek island. My brother-in-law spoils me silly. They both love me because I convinced our conservative dad about the unlikely marital alliance.”

Especially after her sister’s marriage Sameera really misses a man in her life. “It gets really lonely. And I know I’m looking my best these days. Thanks to yoga, I’ve lost oodles of flesh. But what’s the point of looking good when you’ve no one to admire you?”

Age may be just a number. But in Bollywood, Sameera knows her time is numbered. “At the party at Shristi Behl’s, I just kept staring at Twinkle Khanna. She was glowing. She just keeps getting better with the years. I hope I look as radiant when I reach that age.”

BOLLYWOOD HUNGAMA.COM

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On Monday evening, filmmaker Rituparno Ghosh was mistaken for Bengali actress Rituparna Sengupta by the organisers of the 40th International Film Festival in Goa

By Subhash K Jha (MUMBAI MIRROR; December 02, 2009)


Filmmaker Rituparno Ghosh might have lost oodles of weight and started dressing up as a woman but that still didn’t prepare him enough to unflappably face the latest confusion where he was mistaken for a Bengali actress.

The embarrassing incident happened on Monday evening in Goa, where Rituparno, whose sexual orientation has been under the scanner for some time now, was attending the 40th International Film Festival. He had to attend a function to announce the making of a survey-based book compiling the best Indian films of all times, T 20. Being a jury member and a renowned filmmaker, Rituparno was dressed in his finery. He wore a chic black suit, flaming red scarf and oversized sunglasses, looking in his own words, ‘very European’. All was well till he was taken to a seat marked for Bengali actress Rituparna Sengupta. That’s when the filmmaker realised that he had been mistaken for a woman. Riya Sen was seated next to actress Rituparna Sengupta’s chair, making it clear that the seats were meant for the starlets.

Things then got worse. Ritu’s other colleagues on the jury, for the book T 20, were all given VIP space at the event while Rituparno was expected to sit with the starlets.

Rituparna Sengupta Rituparno Ghosh


Confirming the incident, Rituparno insists that the ghastly confusion of identity at the festival had nothing to do with the way he dresses. He says, “I am used to being mistaken for Rituparna Sengupta, even in Kolkata. When I was directing her in Dahan, people would wonder who the director was and who the actress was.”

Recalling the mortifying incident, the filmmaker laughs and says he can now see the humorous side of the gaffe. “But it wasn’t funny that evening. It wasn’t so much the fact that I was mistaken for Rituparna Sengupta that offended me. I certainly didn’t mind sharing a seat next to Riya. What really got me worked up was the fact that the other members on the T 20 jury, Vishal Bhardwaj, Madhur Bhandarkar and Rahul Dholakia and some renowned regional directors (Nagesh Kukunoor who was also on the jury didn’t turn up) were all given a VIP enclave. That really was offensive,” adds Ritu.

As a result, Ritu refused to sit on the seat marked for Rituparna Sengupta and remained standing until he was made to sit with his fellow jury members. Ritu says, “It was Riya who helped sort out the matter. I insisted that all the jury members including the regional directors like me, should all be seated together. That’s what protocol demanded.”

THIS IS ME: Sonal Sehgal

Sonal Sehgal would rather go with what her heart says

DEEPALI DHINGRA (BOMBAY TIMES; December 1, 2009)



When the going gets tough, the tough get going. And that’s exactly what Sonal Sehgal had to do, after waiting eons for her film Aashayein to release. The Nagesh Kukunoor film where she stars opposite John Abraham got delayed so much, that Sonal decided she could not wait any longer and signed her next film Radio. “It was six months after the music launch of Aashayein and I thought to myself that if I keep sitting at home, I’ll probably forget how to act!” she laughs. Of course, that doesn’t mean she isn’t disappointed about her first film being delayed so much. “It’s my first film, so it’s naturally very close to my heart. Plus it’s a beautiful story. When I asked Nagesh last when it would release, he said ‘soon’, so I’m waiting for that to happen soon,” she smiles. On the other hand, she’s a firm believer in destiny and believes that whatever has happened, has happened for the best. Says Sonal, “Since Aashayein got delayed, people don’t have any pre-conceived notions about me yet, and that’s why I was able to sign such diverse films as Radio and Jaane Kahan Se Aayi Hai.” Talk about Radio where she’s paired opposite Himesh Reshammiya and we can’t help but ask if she was advised against taking up the role by anyone. “If the director has such faith in Himesh, then who am I to judge?” she dodges the question diplomatically, and then laughs, “Anyway, I rarely listen to people’s advice. I want my success as well as failure to be credited to me alone,” she adds. But the actress is kicked about her role in the film. “It’s a contemporary look at relationships,” she says, adding that anyone who’s been in a relationship would identify with the film. “I play a girl who gets divorced from her husband but the habit of the relationship is hard to let go for her,” she explains her role. With so much work in her kitty, Sonal is glad that all the hard work and patience is finally paying off. “We make plans for our lives but God always has bigger, better plans for us,” she says with a smile.

Touchwood, we say!

By Taran Adarsh, November 6, 2009 – 09:42 IST

Madhur Bhandarkar is synonymous with thought-provoking, hard-hitting films. Right from CHANDNI BAR to FASHION, the expert storyteller has made movies that hold tremendous shock-value. In turn, Madhur has cultivated a rich fan-base for his films.

With JAIL, Madhur not only makes you visit a prison, but also makes you peep into the psyche of a prisoner. In the recent past, Sriram Raghavan’s EK HASINA THI [2004; Saif Ali Khan, Urmila Matondkar] and Nazim Rizvi’s UNDERTRIAL [2007; Rajpal Yadav] narrated the travails and anguish of innocents who were falsely implicated in a case. Besides, Nagesh Kukunoor’s TEEN DEEWAREIN [2003; Naseeruddin Shah, Jackie Shroff, Nagesh Kukunoor] too narrated the story of three convicts. But JAIL is different from the above-named films.

BY BOLLYWOOD HUNGAMA.COM

Besides watching a thought-provoking story on celluloid, one has also come to expect incredible performances in a Madhur Bhandarkar movie. And JAIL too is embellished with superb performances from its key actors.

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JAIL transports you to a hitherto unknown world that most of us haven’t seen and if this is its USP, it’s also something that might go against it. Irrespective of how strong its merits are, a section of moviegoers [read families/kids], who generally tilt towards feel-good/sunshine/entertainment-filled cinema, might skip this film due to its dry [and at times depressing] theme.

In a nutshell, JAIL mirrors a reality in true Madhur Bhandarkar style. It’s hard-hitting, it’s compelling, it’s thought-provoking. The efficient storyteller has the courage to speak a new language in every film and for that very reason, JAIL should be on your agenda.

Parag Dixit [Neil Nitin Mukesh] is living a dream life — a great job and a loving girlfriend [Mugdha Godse]. However, things take an ugly turn when, after a series of unfortunate events, he suddenly wakes up in jail. Parag is perplexed. The only salvation he finds is in Nawab [Manoj Bajpayee], a convict, who believes that Parag is innocent.

Soon, Parag is left with a choice, to either live a life with hordes of broken hearts and shattered souls amidst the prison walls or hope to see freedom some day.

JAIL involves you from the very start. The inmates, their crimes, their individual stories… you get drawn into a world that’s very real. So real that you feel it’s happening right in front of your eyes.

Madhur has a knack of narrating stories and he narrates the story of Parag Dixit with razor-edge sharpness. Besides, JAIL also enlightens you of the legal process, which also acts as an eye-opener.

At the same time, the legal procedures and also the behavioural pattern of the inmates tend to get repetitive after a point and that’s when you start feeling restless. Nonetheless, the post-interval has some interesting twists-n-turns, like the convicts’ escape from the police van; prior to that Neil and Manoj exchanging stares before Neil perches himself in the van; Neil getting thrown in a dark cell, spending the next few days in solitary confinement; a convict using the garbage van as the means to escape; another convict realising that his wife is now a cop’s mistress. Also, the climax is touching and moves you.

Madhur hits the right note yet again. Madhur, Manoj Tyagi and Anuradha Tiwari’s script involves you in most parts. Raghuvir Shekhawat’s dialogues are true to life. There’s no scope for music in a film like JAIL, but the three songs are smartly integrated in the storyline. Kalpesh Bhandarkar’s cinematography is top notch. Special mention must be made of Nitin Chandrakant Desai’s prison set, where the film is entirely shot.

Not only does Neil Nitin Mukesh deliver his finest performance to date, but the performance would easily rank amongst the finest this year. He conveys the pathos and helplessness that this character demands with amazing understanding. He deserves all praise for his extra-ordinary portrayal.

Manoj Bajpayee pitches in a memorable performance. In fact, the supremely talented actor is in form after a long, long time. He’s subdued all through, which only goes to prove that he knows the craft so well. Mugdha Godse underplays her part beautifully. Also, she carries the non-glam look well.

Aarya Babbar is fantastic. This film should make people sit and notice this young actor. Chetan Pandit is first-rate. Rahul Singh is excellent, especially in the sequence when he confronts his wife. The actor who plays the part of Joe D’Souza is effective.

On the whole, JAIL is a well-made film from an expert storyteller. At the box-office, the film will appeal to those with an appetite for hard-hitting, realistic fares, but its clash with AJAB PREM KI GHAZAB KAHANI will affect its business to an extent.

The sheer brilliance of Kaminey makes Karan Johar forget all the grouses he had against Vishal Bhardwaj since 2006
By Ashwini Deshmukh (MUMBAI MIRROR; August 18, 2009)

Vishal Bhardwaj

Karan Johar

It wasn’t a premier but the turnout was nothing short of a red carpet event. Sunday evening trial of Kaminey had the who’s who of Bollywood queuing up to watch the film that got stalled by swine flu. From the mainstream brigade led by Karan Johar, Rakyesh Mehra, Imtiaz Ali and Ashutosh Gowariker to the alternative set of Anurag Kashyap, John Matthew Mathan, Nagesh Kuknoor, Aziz Mirza, the auditorium at Yash Raj resembled a class of directors.

Also marking their presence were Hrithik Roshan in the scraggy beard he’s grown for Guzaarish, Gauri Khan, putting aside all rumours of a fallout between SRK and Vishal Bhardwaj, Manish Malhotra, Dino Morea, Yash Birla, and standing quietly in a corner, Pankaj Kapur.

But what became the talking point was Karan Johar whose film Kabhi Alvida Naa Kehna had earlier clashed with Omkara, leading to much rumour-mongering between the two camps, on Monday going all out to praise Kaminey. Karan who has publicly admitted his desire to move from bubblegum cinema to a more serious format, starting with My Name Is Khan, gushed on Facebook. “Kaminey… Edgy, intense, compelling, and a shot of great cinema in your face, take the ride alongwith bravura ensemble performances, Shahid, Priyanka and Amole Gupte, stand tall and firm in every inch of this brilliance. More power to you Vishal, and thank you for the inspiration.”

Likewise, Anurag Kashyap, for whom Vishal earlier scored the music for No Smoking, wrote, “Kaminey, badi hi kamini film hai.” Finally, Vishal’s grouse of being the perennial outsider in Bollywood  is laid to rest.

Nagesh Kukunoor’s films have been a yo-yo of genres. For every Teen Deewaarein, Iqbal and Dor, he has made Bollywood Calling, Bombay to Bangkok and 8×10 Tasveer. What makes him tick?
By Indu Mirani (MUMBAI MIRROR; July 24, 2009)
You were the poster boy of new age, low budget cinema. What happened to you?

I love this mantle that was thrust on me but seriously I always made films according to the situation I was in. When I was starting out, I knew no one would give me a film so I took all my savings and made a film. After that film was successful, had I played the Bollywood game, and accepted the offers to do urban romantic comedies, I could have immediately leapt up to a three or four crore film. But I chose to write a semi-biographical film (Rockford) about a boy in a boarding school. I made the film in the money I could raise at that time which was about Rs 65 lakhs. My films have always been about what I could muster at that point of time.

In the last two years, I made four features back to back, Bombay to Bangkok followed by Aashayein followed by 8X 10 followed by Yeh Hausla. Now to answer your question, Bombay to Bangkok was a very small budget romantic comedy, Aashayein was an emotionally fulfilling drama, 8X10 was a big action pic, Yeh Hausla, about five women is back to a small film in Rajasthan. So I have never played the game of ‘Ok, I have done an 8X10, now I will not do small features.’ It has to make sense in terms of budget, the economics of course, but also where I am in life. If I can muster a Rs 30 crore film, I will do a Rs 30 crore film. But if I have a script that needs a small budget, I will do that. I have never played by the rules.How can somebody who makes Iqbal and Dor also make Bombay to Bangkok? What exactly is your sensibility?

It’s what I feel about the genre that I am writing. There is no pattern. I want to make films that I believe in, that I am passionate about. After doing Iqbal and Dor, I really wanted to write this wacky comedy Bombay to Bangkok. The problem is the baggage that an Iqbal and a Dor carry. The Indian audience is very much about they-like-this-about-actors, they-like-this-about-directors, about seeing them in the same repetitive pattern. If I have defined my filmography by not sticking to a pattern, I am not going to change now because I have been more successful with one genre.

The process of filmmaking has to be as much fun for me as it is for the audience. I will make the film for myself first. I have to enjoy the process. When I think I do that, I serve the audience. The basic thing that was taught to me when I was learning theatre, was to ‘serve the audience, serve the play’. This doesn’t mean ‘cater to the audience’. In order to serve the audience and serve the play, the best way is to pour your passion into what you are doing, what you believe in.

The beauty about art is you don’t know how it is going to impact the audience or the viewer till after its done. The one lesson that I learnt early in the game, is that there is no right way to do anything. And here is the irony of the business; there are no lessons to be learnt. Experts will say this is not the season to make a romantic comedy and then a romantic comedy will just blitz the box-office, then everybody will be mmm…

Do you agree that Iqbal may be your best film so far?

No. It was a film that exactly touched a chord with the audiences. It goes to show you how ridiculous this field is because Iqbal was originally about Malkhamb and every producer I pitched this to, was unpleasantly surprised. The moment I switched over to cricket, it touched a chord. Everyone went bonkers. I know how much effort it took to make Iqbal and I know how much effort it took to make Bombay to Bangkok. I shot 18 hours a day. I was doing two locations, three location shifts a day. So the amount of effort I poured into it was the same. One story struck home and one story completely bypassed everyone. As a filmmaker, there was the same set of rules, the same amount of dedication, the same shot breakdown, and the same madness. It’s impossible to judge what is good work and what is bad work. All you know is sometimes it works with the audience and sometimes it doesn’t.

Will Aashayein ever release?

Thanks to the strike, our plan went for a toss. We thought we would release it in September. Now I think we are going to wait till November because there are so many big films, that Percept is not sure where to push this in. So I am in the dark.

You are again venturing the path less tread with the woman centric Yeh Hausla…

(laughs) As a matter of fact, after I did Iqbal, when I did Dor, it was a challenge. People said ‘Are you mad, why are you doing a woman centric film?’ Then post Dor, people asked me ‘When you make such sensitive films about women, why don’t you make such films more often?’ If a story is good and it grabs you, even hardcore men who had to be dragged to Dor because it was a chick flick, didn’t complain. Within the framework of a film, whether you like it or not, a director will push his or her philosophy, but as long as it comes presented in a wrapping of a good story, it will be appreciated. For me that’s most important. And it’s the same with Yeh Hausla.

So when are you making your next big actor film?

I don’t know, it could be soon. There are a lot of conversations that have been happening. At any given time I have a bank of scripts; I just keep writing them. So my immediate next one could be an action pic or it could be really really small romantic film.

What happened to your very pronounced American accent?

(laughs) I can bring it back in one half second. But I have worked pretty hard at being non-standing out, if there is such a phrase.

I personally think you are a lousy actor…

(laughs) Thank you.

…are you going to act in all your films?

I have never cast myself in a role that I felt I will not be able to do. Usually it’s the smaller roles, barring Hyderabad Blues where I played the lead. However in Teen Deewarein, I truly enjoyed playing Naagia, the Hyderabadi character. But again it was the lesser role. Unfortunately, here, the ham quotient is very high. I can ham but I won’t. May be if I ham will be a better actor. (laughs aloud)

Akshay Kumar is the pondering, mulling type; he prefers if questions are emailed to him so that he can answer them after giving the answers due thought. But he was sporting enough to do it our way for once. When Indu Mirani dropped in at ND Studios, Karjat, where he was supposed to shoot for Action Replay, he dutifully took time off to answer spontaneously. Here’s how it went

June 08, 2009 (MUMBAI MIRROR)

•     Let’s talk about memorable moments, when you were a young boy, when you were a young man, and in the last two years.

The first was when my sister was born. I was four years old and though I don’t remember any day before and not many for some time after, I remember this event completely. I still remember coming out of the hospital after seeing her, and still remember talking to my dad about it.

The second was totally out of a Bollywood film. It was my second or third assignment as a model. I was supposed to reach the airport at 6pm to catch a flight to go to Bangalore. I was very excited and woke up early to work out when I received a call saying, ‘Why aren’t you at the airport?’ I realised I’d mistaken 6 o’clock for the evening when it was meant for the morning. I was called unprofessional and though I cried and begged and went to the airport they had left. In the evening I was walking around and I reached Natraj studio where I met Pramod Chakravarty, who gave me my first break. He signed me and gave me a cheque for Rs 5000, my first signing amount. And the time…
6pm. The rest is history.

The last has to be the day Singh is Kinng was released because that was my first production and my banner Hari Om Entertainment is named after my father.

•     When you were finding your feet, who were your idols?

I wanted to be like my father and work from 9am to 6pm. He used to work for UNICEF. I remember a Peugeot coming to pick him up. That was a big thing. He would drop me to school in that car while going to office. Even I wanted an imported car to pick me up from office and drop me back. My father was my only idol. Whatever I am today and whatever I learnt is because of him. For me, there was no idol in Hollywood or Bollywood. My life was very small. I didn’t have any exposure to bigger things because I didn’t really have any choice. We didn’t have the money to do that.

•     And now?

I really like Danny Dengzongpa’s lifestyle. He doesn’t work during March, April, May because it’s too hot. He has his own company and he does just one or two films on his own terms and conditions. He doesn’t work for more than eight hours. He is happy and content with whatever he has. He has a lovely place and a lovely family. And I think that’s brilliant. He goes alone to the mountain, sits and simply plays the flute or sings. I talk to him a lot about such things. I admire him.

•     So what stops you from having this life?

Nothing yet. I remember he said, ‘Don’t worry Akshay you can start having this life at the age of 48, you are still  very young.’ I still have five years to go.

•     Other than your past films and yourself, who are you in competition with?

I don’t like competition. I know it’s supposed to be healthy, but I don’t like it at all. I hate it. I don’t compete. There are far more films than there are actors so what’s to compete for? I don’t understand.

•     But how far would you go to get ahead of someone?

I don’t want to go anywhere, let alone how far? I’m totally content in my life and space. Even when I became the highest tax-payer, it was said that I had beaten so and so… I mean, I just do so many films and that is why I have to pay so much tax.

•     What about camps?

I believe in being comfortable with people I am working with. So if that means having a camp, it’s fine. I work with a set of people comfortably, I earn from them, they earn from me, our sensibilities are similar. But there is none of the ‘Aaj ke baad tu kisike saath kaam nahin karega, you’re in my camp now’.

•     Do you believe women can do action as well as men? Or do you believe that sex makes no difference?

I think women can do far better work. I have just finished Fear Factor with 13 women who had male partners and believe me, they gave them a tough time. When you stand on the 15th floor and have to jump, confidence doesn’t matter, it’s the gut, the inside feeling. The men were hesitating but the women did it. Last year was the same.

•     What does the mirror mean to you?

Earlier mirrors didn’t mean anything much to me, I just glanced at one when I had to go out and that was about it. But ever since I became an actor, it means a lot more. It’s one of the most important things in my day-to-day life, I need it after every single shot.

•     How many mirrors do you have in your bedroom?

One.

•     Only one? Actors are usually so vain.

I’m not, I’m sitting here with you in mismatched clothes. And I didn’t design the house, my wife did. The 12,000 sq. ft. home has only two mirrors.

•     What is the last thing you check when you leave the house?

When I am going somewhere with my wife I check if I’ve taken my wallet. When I am going alone there isn’t really anything to check, I just sit in the car and go.

•     Tell us about your wild reputation…

Before I got married, I was a man and after I got married, I became a married man. So it’s not that the reputation was not true, it was very much, but what’s wrong with that. I thank my stars that I am a man. And whatever relationships I have had in my life kabhi kisi se zor zabardasti ke saath kiya nahin. It is a known fact.

•     But the reputation continues…

I am linked with anyone I work with. The media has become very strong, they can write whatever they want. I read and laugh about it. They connect me with anyone, anyhow and they do that with everyone. It’s not that I am the only one. It’s part and parcel of the game.

•     How much do you plan your career?

I don’t plan anything. Singh is Kinng just came my way. I saw this line written behind a truck and I said I want to do this. A script was made according to the title, so there was nothing planned. I did 8 x 10 Tasveer, which didn’t succeed, but I am glad I did it. I learnt a lot from Nagesh Kukunoor. It is very important for me that I just enjoy playing whatever comes my way.

•     How do you manage four releases a year?

I work on four to five films and I go for a holiday every three months. When I work, I just work, I go on time, I come on time. Actually, it does not take more than 45 to 50 days to finish a film if the director knows his job, if the producer is given everything and if an actor comes on time and works for 10 hours a day. It’s a criminal waste to do 120 or 150 days of shooting. Even an action film should not take more than 65 to 70 days. I did Namastey London in 32 days. I did Blue of which 40 per cent is underwater and it has sharks and motorbike stunts, in 55 days. This way the producer finishes the film on time, interest is saved, a lot of time and money is saved, other people’s dates are saved, so more and more is achieved.

I am not a lazy man. If they call me at 6pm, I am here at 6pm and I will work till 6am. I work for 10 hours, I take Sundays off and after every three months, I take a vacation for one or two weeks and I still do four to five films a year. And I have no backlog or any old unreleased film either.

•     If you are doing a film and you find out halfway through that it is crap, what would you do?

Finish the film off as soon as possible. If I don’t get along with the director, I’ll finish that movie much faster than other movies.

•     Has it happened?

Yes, it has happened. But I don’t tell the director that I am not enjoying the film. I just finish the movie much faster than he can imagine.

•     When you shoot for Fear Factor, does the fact that you have 13 lovely women watching you make you feel more macho?

Yes, I have to play to my image na? You have to impress them. Sometimes I’m doing a stunt and I’m standing on the top of a building from which I have to jump, and I swear to God, I’m so scared! But there are so many people waiting below and looking up at me, that I just can’t back out. I know the machismo is stupidity, I can lose my life , but till now I’ve been successful and nothing has gone wrong. Fear is a large part of courage.

•     So what does Akshay Kumar fear?

There are so many things. Insecurity is the main one. Actually, I fear fear.

I thank my stars that I am a man

On a scale of 1 to 10: how much money means to you in relation to these things?

•    Security…………………. 9

•    Position in Society… 6

•    Means to own things …………………… 5

•    As an incidental perk of doing something you love ………………. 6

•    Greed for more …..   5

Your reasons for accepting a film

•    For a friend………….. 4

•    Director ……………… 7

•    Role……………………… 7

•    Scope for action…..  2

•    Scope for songs…..   2

•    Leading lady ……….. 3

•    Outdoor location..  5


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