After winning the hearts of Delhiites with Wrong Number in 2018, director Raman Kumar is all set to mesmerise audiences with another play — Hello Zindagi. SHALINI SAKSENA speaks to the actors and the scriptwriter on what makes it a must watch
Five gorgeous actresses’ are all set to mesmerise Delhiites with the latest stage show — Hello Zindagi!. The play marks a debut for actor Smita Bansal as a scriptwriter (plays Rukhsar in Aladdin:Naam Toh Suna Hoga on SAB TV) and has been directed by Raman Kumar, who has been bestowed with the Dada Saheb Phalke Award (2015) for Contribution in Television.
The vivacious Minissha Lamba, plays Pammi. Lamba recently debuted on stage with her solo performance in Mirror Mirror where she plays multiple roles. Kishwer Merchant plays Sheena. Delnaaz Irani plays Bakula. Chitrashi Rawat plays Shivani. The man among the five women — Rahul Nayyar — plays Vicky. Guddi Maruti plays Bijoya di, a Bengali.
The theatrical revolves around women who come from different backgrounds and characteristics but are staying together in a posh flat in Mumbai. Be prepared for drama as these strong, sharp witty women lead you on an unforgettable journey filled with intrigue, comedy, confusion and passionate tides.
The harmony in the home gets tangled when Vicky falls in love with Pammi, wants to marry her and take her to the US and Bakula decides to move with them too. The plot thickens when she decides to give her business to a corporation on lease which is being organised by Vicky.
Talking about her character, Guddi tells you that she plays a Bengali maid. “Though my character is that of a maid, I am more of a friend. Since I am elder to the five women, I scold them and even bestow love. I participate in their fun as well,” Guddi shares, who makes a debut on theatre with this play.
She tells you that she was apprehensive in doing theatre. “I was scared because I had never done theatre. I was not sure whether I would be able to adjust to the concept that there are no retakes and do it at a stretch. My dear friend Rakesh Bedi ji and Ramanji convinced me to at least read the script. Once I read it, I was so taken in with the characterisation and how five women come together even though they have a backstory. Also, after 38 years in the industry, I can say that I have done theatre as well,” Guddi says.
Playing a Bengali came with its share of preparation. Besides getting the attire correct, she had to get the accent correct.
“I had to learn a few Bengali sentences. Accent had to be right as well. I did a bit of research myself. I also had to get used to whole sentences like ‘jal khabey’. I had to work on these nuances,” Guddi says and tells you that the reason why she is not doing films is because of the kind of movies that are being made today.
“When I started off in movies, it was a different era. Today, while one does have movies like Badhai Ho, it is no longer the kinds that were made with Govinda. I am busy doing TV. Even with this play, I agreed because I had just finished Yeh Un Dinon Ki Baat Hai where she played Principal Ma’am VJN College. The timing was perfect. You have to give theatre full attention. More so, since the stage was new for me,” Guddi says.
She recounts how they had a blast not just of the stage but off the stage too. “There was so much fun with Kishwer, Delnaaz and Chitrashi,” she says whose favourite scene in the play is between Kishwer and Delnaaz.
“Kishwer has done such a brilliant job. It reduced me to tears,” Guddi says who tells you that doing theatre has changed her.
“I am glad that I said yes. I had a mental block before. I have grown as an actor. The stage has helped me to be sharper. In films and TV, you have to learn a few lines and then there is a cut. Stage is different. I have cues and then make an entry. I have to be alert all the time,” Guddi says and the whole experience has made her open to doing more theatre.
Rahul Bhuchar, producer and MD, Felicity Theatre says that we all need entertainment to unwind the monotonous daily grind and the play is definitely one answer to that conundrum. “The quality of the production, the powerful script and brilliant performances by these talented actresses’ promises to keep the audiences glued to their seats till the very last minute,” Bhuchar shares.
Kumar, tells you that through Hello Zindagi! they want to say that God has made life beautiful, but it’s the people, who create problems for themselves. “This results in misery and problems. There are no shortcuts in life. The simpler your life is, the happier you will be. Live the life fully and love the life you have been given. While people may not be able to live the life as they have wanted to that doesn’t mean we can’t make the best of what we have. This the theme of the play,” Kumar says who has been busy with the play after the success of Wrong Number that was staged in 2018.
“The original story by Bansal was in English. I got to read the story, I loved the characters and decided to adopt it into Hindi. This is because in Hindi the whole gamut changes — be it language, dialogues or the fun quotient which is so different from English,” Kumar shares and tells you that the inspiration came from the emotions and the treatment that Hello Zindagi! has — dealing with a serious issue lightly.
He tells you that the reason for the growing popularity of live performance is the result of increased demand in good content.
“With the spurt in the digital platform, people are now looking for entertainment that will take them out of their homes. Film is an alternative. Also most movies find their way into the digital space. Theatre gives them live entertainment. Then there is star power too. People come to watch their favourite stars like Anupam Kher and Naseeruddin Shah who are active,” Kumar says and tells you that in Mumbai alone, there are 20-25 theatre performances every weekend in different languages.
Bansal tells you that the inspiration for the story came after her 14-year-old daughter’s book got published. “That got me thinking and I started penning some characters which became related. Slowly, the story took shape. While it was not a TV or a film script, stage was a platform where I could see it coming alive. Once I approached Ramanji, we sat and translated it into Hindi. I have been involved from day one,” Bansal says and tells you that the essence and the spirit has remained the same.
Whether scriptwriting will turn into a full-fledged career is sometime that requires more thought. “The only reason why I was able to pen this down was because I was between shows. If I have to write, it won’t be while I am shooting for a show because TV is very consuming,” Bansal tells you.
The message Hello Zindagi wants to send is what women go through, but not in a morose manner. “Even though the woman is working, the home responsibilities still rest with us. I wanted to talk about this — how despite challenges, women are happy juggling work and home,” Bansal says.
The tickets:Rs 300-Rs 2,000 bought at www.bookmyshow.com
Date & Time: March 23, Saturday 3:30pm and 6:30pm; March 24, Sunday at 5pm
Venue: Kamani Auditorium, Delhi
Writer: Shalini Saksena
Courtesy: The Pioneer
Goopi Gawaiya Bagha Bajaiya, which premiered at Toronto Film Festival in 2013, is finally released in India. Director Shilpa Ranade tells SHALINI SAKSENA animation is her choice to tell stories
How has your journey been thus far?
I picked up an area — animation — to make films which is not really big in India. it has been tough since there are not many options to the kind of work that I want to do. There isn’t much funding, not many platforms where one can showcases one’s work and not many like-minded animators. There are very few animators who are experimenting with their work or their storytelling or are invested in doing things that are local. It is still a very niche area.
Why choose animation to tell your stories?
I was always interested in visual arts. I studied Applied Arts and went to Sir JJ College of Architecture. From my early days at JJ I was part of film clubs and societies and saw some interesting work from Europe. Animation, I thought was a powerful medium. It brought image making, moving images and storytelling together. For me, this was important because I wanted to make such moving stuff. So it started way back and then went on to study animation.
Where does India stand when it comes to animation?
Technically, we are decent since a lot of back-end work is outsourced to the country. People are trained on the job and the quality is good. Where we lack is storytelling and making original content.
Is that why some of animation that is made in India is not at par with what we see abroad?
I would not say that it is not lack of imagination as much but that not many people are investing in animation. Even if there are some, where do they get the funding, if they get that, who will show that work? It is a chain. You don’t create an audience, you don’t create a culture that views these films other than animation from Disney or any other production house.
Are you a designer, illustrator, a filmmaker or an academician?
I think that design encompasses all. For me, illustration and animation comes under design. Designer is not different from an illustrator. My focus is book illustration and animation. I teach because I enjoy it.
What is Goopi Gawaiya Bagha Bajaiya about?
I am an book illustrator and got this book from Scholastic which is a classic story by Upendra Kishore Roychowdhury back in 1915. It has been retold by many people. The version I got is from Gulzar. I drew for the book and while I was doing it,m I thought it was perfect material for animation — the original work. I had seen Satyajit Ray’s work on the book as well. He was Roy Chowdhury’s grandson, there was this amazing lineage. I wanted to make a film that would resonate with kids today. Animation is perfect.
Does the animation have a message to tell?
Yes. It is important that everything that I do is just for entertainment. It is important to have good content for children since we don’t do a lot of things for them. This film has a anti-war message, a peace loving film, which is relevant today.
So there lack of films for children?
Definitely. We have so many films coming out from the industry. Where do we have kids film? Except for CFSI, I don’t think anybody is making films for kids?
Where do you get your ideas for animation?
I see what is happening around me or what I read, or music I listen to. All this reflects in my subject.
Writer: Shalini Saksena
Courtesy: The Pioneer
After winning the hearts of Delhiites with Wrong Number in 2018, director Raman Kumar is all set to mesmerise audiences with another play — Hello Zindagi. SHALINI SAKSENA speaks to the actors and the scriptwriter on what makes it a must watch
Five gorgeous actresses’ are all set to mesmerise Delhiites with the latest stage show — Hello Zindagi!. The play marks a debut for actor Smita Bansal as a scriptwriter (plays Rukhsar in Aladdin:Naam Toh Suna Hoga on SAB TV) and has been directed by Raman Kumar, who has been bestowed with the Dada Saheb Phalke Award (2015) for Contribution in Television.
The vivacious Minissha Lamba, plays Pammi. Lamba recently debuted on stage with her solo performance in Mirror Mirror where she plays multiple roles. Kishwer Merchant plays Sheena. Delnaaz Irani plays Bakula. Chitrashi Rawat plays Shivani. The man among the five women — Rahul Nayyar — plays Vicky. Guddi Maruti plays Bijoya di, a Bengali.
The theatrical revolves around women who come from different backgrounds and characteristics but are staying together in a posh flat in Mumbai. Be prepared for drama as these strong, sharp witty women lead you on an unforgettable journey filled with intrigue, comedy, confusion and passionate tides.
The harmony in the home gets tangled when Vicky falls in love with Pammi, wants to marry her and take her to the US and Bakula decides to move with them too. The plot thickens when she decides to give her business to a corporation on lease which is being organised by Vicky.
Talking about her character, Guddi tells you that she plays a Bengali maid. “Though my character is that of a maid, I am more of a friend. Since I am elder to the five women, I scold them and even bestow love. I participate in their fun as well,” Guddi shares, who makes a debut on theatre with this play.
She tells you that she was apprehensive in doing theatre. “I was scared because I had never done theatre. I was not sure whether I would be able to adjust to the concept that there are no retakes and do it at a stretch. My dear friend Rakesh Bedi ji and Ramanji convinced me to at least read the script. Once I read it, I was so taken in with the characterisation and how five women come together even though they have a backstory. Also, after 38 years in the industry, I can say that I have done theatre as well,” Guddi says.
Playing a Bengali came with its share of preparation. Besides getting the attire correct, she had to get the accent correct.
“I had to learn a few Bengali sentences. Accent had to be right as well. I did a bit of research myself. I also had to get used to whole sentences like ‘jal khabey’. I had to work on these nuances,” Guddi says and tells you that the reason why she is not doing films is because of the kind of movies that are being made today.
“When I started off in movies, it was a different era. Today, while one does have movies like Badhai Ho, it is no longer the kinds that were made with Govinda. I am busy doing TV. Even with this play, I agreed because I had just finished Yeh Un Dinon Ki Baat Hai where she played Principal Ma’am VJN College. The timing was perfect. You have to give theatre full attention. More so, since the stage was new for me,” Guddi says.
She recounts how they had a blast not just of the stage but off the stage too. “There was so much fun with Kishwer, Delnaaz and Chitrashi,” she says whose favourite scene in the play is between Kishwer and Delnaaz.
“Kishwer has done such a brilliant job. It reduced me to tears,” Guddi says who tells you that doing theatre has changed her.
“I am glad that I said yes. I had a mental block before. I have grown as an actor. The stage has helped me to be sharper. In films and TV, you have to learn a few lines and then there is a cut. Stage is different. I have cues and then make an entry. I have to be alert all the time,” Guddi says and the whole experience has made her open to doing more theatre.
Rahul Bhuchar, producer and MD, Felicity Theatre says that we all need entertainment to unwind the monotonous daily grind and the play is definitely one answer to that conundrum. “The quality of the production, the powerful script and brilliant performances by these talented actresses’ promises to keep the audiences glued to their seats till the very last minute,” Bhuchar shares.
Kumar, tells you that through Hello Zindagi! they want to say that God has made life beautiful, but it’s the people, who create problems for themselves. “This results in misery and problems. There are no shortcuts in life. The simpler your life is, the happier you will be. Live the life fully and love the life you have been given. While people may not be able to live the life as they have wanted to that doesn’t mean we can’t make the best of what we have. This the theme of the play,” Kumar says who has been busy with the play after the success of Wrong Number that was staged in 2018.
“The original story by Bansal was in English. I got to read the story, I loved the characters and decided to adopt it into Hindi. This is because in Hindi the whole gamut changes — be it language, dialogues or the fun quotient which is so different from English,” Kumar shares and tells you that the inspiration came from the emotions and the treatment that Hello Zindagi! has — dealing with a serious issue lightly.
He tells you that the reason for the growing popularity of live performance is the result of increased demand in good content.
“With the spurt in the digital platform, people are now looking for entertainment that will take them out of their homes. Film is an alternative. Also most movies find their way into the digital space. Theatre gives them live entertainment. Then there is star power too. People come to watch their favourite stars like Anupam Kher and Naseeruddin Shah who are active,” Kumar says and tells you that in Mumbai alone, there are 20-25 theatre performances every weekend in different languages.
Bansal tells you that the inspiration for the story came after her 14-year-old daughter’s book got published. “That got me thinking and I started penning some characters which became related. Slowly, the story took shape. While it was not a TV or a film script, stage was a platform where I could see it coming alive. Once I approached Ramanji, we sat and translated it into Hindi. I have been involved from day one,” Bansal says and tells you that the essence and the spirit has remained the same.
Whether scriptwriting will turn into a full-fledged career is sometime that requires more thought. “The only reason why I was able to pen this down was because I was between shows. If I have to write, it won’t be while I am shooting for a show because TV is very consuming,” Bansal tells you.
The message Hello Zindagi wants to send is what women go through, but not in a morose manner. “Even though the woman is working, the home responsibilities still rest with us. I wanted to talk about this — how despite challenges, women are happy juggling work and home,” Bansal says.
The tickets:Rs 300-Rs 2,000 bought at www.bookmyshow.com
Date & Time: March 23, Saturday 3:30pm and 6:30pm; March 24, Sunday at 5pm
Venue: Kamani Auditorium, Delhi
Writer: Shalini Saksena
Courtesy: The Pioneer
The transition from law to performance arts might seem drastic but it is a composition of talent, luck and destiny, says Shraddha Srinath
You don’t have to be from the industry to be good enough for a leading role material,” believes actress Shraddha Srinath who is gearing up for her Bollywood debut with Tigmanshu Dhulia’s venture, Milan Talkies.
The actress never planned to get into the film industry, however, she feels that she was destined to be a part of it.
She says, “I was someone who didn’t even know how to put a lipstick, I didn’t own a single one at that time. And this was when I was working as a lawyer. From there to now, it has been a lot of learning with each day.”
She says that It’s like always looking out for yourself because there’s nobody to tell you — do this or don’t do that, however there will be 100 of people instructing you that you should behave like this but at the end of the day how you take your decision, or what you think is right, is all what matters. “It’s like owning your business and handling it. I’m a business woman and I’m handling Shraddha Srinath enterprises,” she adds.
The actress who gained wide acclaim for her role in the Kannada psychological thriller U Turn, says that the transition into acting from the world of law might seem drastic, but she believes it is a composition of her talent, luck and destiny.
Incidentally, Milan Talkies is her first full-fledged romantic drama in her career. She describes it as a very filmy film. “As Bollywood as it can get. This will also show a different side of me to the audience who have only seen me in serious roles,” she says.
Talking about how she grabbed the role in the film, she tells us, “When I spoke to Tigmanshu, he asked me to enact a scene and send him my audition video. I couldn’t believe that it was actually happening. I’ve been a huge fan of his work right from the time I saw Haasil. It was a matter of five minutes, he called me and said you’re on. And I was so excited.”
With increasing competition in Bollywood, Shraddha doesn’t feel insecure at all. She says, “I’m not here to be a part of the race. I am in no rush. I will do the best that I can. And whoever see’s the potential in me may call me. I am actually quite happily busy in the south.”
It has been quite the transition for the actress with a new industry. But the actress is quite comfortable in Bollywood as she didn’t feel there was much of a change between the two industries. She explains, “Honestly, There’s no such difference, language is the only obvious difference. And they also vary in scale and but apparently not in content. Bollywood’s reach is much higher. But I must say each industry is equally professional. It depends on the director or the producer. So who’s heading the team matters the most. Industry really doesn’t matter at all. But I feel fortunate enough to work here because several people aspire to be a part of this industry, and I have achieved it.”
Shraddha who also stars in the Tamil remake of Pink, says that interestingly she hasn’t even watched the film yet. “Before I got selected for the film, every time when the topic would pop up, I say that I haven’t watched it. People were like you must watch it… And when I was finally the cast, they were like ‘ab toh’ you have to watch it. So I told them ‘ab toh I am definitely not going to watch it.’”
The actress is playing the role which Taapsee (Pannu) originally played. She says, “Taapsee has done an excellent job but while I shoot my part I don’t want to remember her performance. Now that I’m done with my part for the film. I am eager to watch it.”
Photo: Pankaj Kumar
Writer: Ayushi Sharma
Courtesy: The Pioneer
Four women filmmakers from the Indian movie industry – Zoya Akhtar, Reema Kagti, Alankrita Shrivastava and Nitya Mehra reveal what makes them a part of the new content-driven entertainment, one where they are breaking barriers. In a conversation with Saimi Sattar
What do you get when you have four powerhouse directors who have a distinct oeuvre in one place? A swirl of ideas and thoughts that might not be linear but each of which is certainly coherent and individualistic. Zoya Akhtar, Reema Kagti, Alankrita Shrivastava and Nitya Mehra might have learnt the ropes from some of the best in the industry but now are names to reckon with on their own. The four of them have come together to collaborate on Made in Heaven, a show that is being aired on Amazon Prime, a digital platform. So while Zoya, Reema and Alankrita wrote the script where the protagonists are wedding planners, Nitya was the showrunner who ensured continuity as each of them directed a few episodes. They reveal what makes them a part of the new content-driven entertainment, one where they are breaking barriers beyond just gender.
The show is on Indian weddings, the economy and the culture around it. What were some of the discoveries you made while researching for it?
Reema: For that, you will have to watch the show (laughs). Yes, there was a lot of research that we did on the subject and found out so many aspects that we did not know about. Marriage is not big in India without a reason. It is the problem-solver for everything and an equaliser of sorts. Some of our personal and family experiences have also made it to the show. The idea first came from Zoya as she has a friend of hers who works in the business.
Nitya: Zoya and Reema recently attended back to back weddings of two of our mutual friends in Delhi. They stayed with me and since it was like a break from work, we observed everything as spectators.
Zoya: That’s when I realised that there was so much of backroom gush to produce a great magical spectacle, much like a grand film. It was a fascinating mosaic of ideas and imagination. It inspired me so much that I actually got to a desk to write about it.
How did the four of you manage to maintain the creative tempo?
Zoya: The slight style difference is welcome. The bigger picture was that the three of us (Reema, Zoya, Alankrita) wrote it and so we were already on the same page as we had come on board from the beginning while she (Nitya) was the showrunner. It was a challenge to treat the subject visually. Each wedding is episodically different, so each chapter changes how you want to treat it in terms of design and style. We had a continuity with the crew and our actors are very good. The moment they get their pitch, they do not need the director telling them what their character graph is, they know it.
Alankrita: What worked for all of us is that we went with our instinct and gut feeling.
Zoya: All four of us believe in originality and that honesty is the reason why there is a seamless flow to things.
How did you resolve creative differences in terms of show continuity, from one episode to the next?
Reema: That’s why Nitya was the showrunner throughout.
Nitya: That is a part of my job profile to absorb breaks in movement if the crew or the director changes. Not too many people know about this job because it is new. The primary job of a showrunner is to be able to bring everybody that is straying away on the same page and to whatever was decided in the beginning. We did have a writers’ and a directors’ room but we read the entire series from the first to the last episode and if any director had a problem, it was brought to the table as were the suggestions. Like Zoya said, it was nice to have different directors for different weddings. And every time someone was straying, we just brought them back.
Alankrita: We were on the same page while developing it. We knew what the location would be or what we were looking for in terms of cast. When you’ve worked on the material and been a part of the developing process, you kind of know what you want. It made it much simpler that we did not come in from the cold.
Nitya: Once the crew sets in, it is easy whether directors come in or not. If it is not working, then you just make it work.
Alankrita: And we are just this amazing set of people, so we do know how to work well. (All of them laugh).
Nitya: We also had Prashant Nair (director of episode 5 and 6) who was not a part of the process. So I understood that he needed a little more of hand-holding.
Zoya: If you’re clear about your specifics and pen them down to the last detail, work with your actors to grow into the characters… in short if your prep is thorough, there are no disputes.
Would you say that you have been able to break out of that mould of being categorised as women directors?
Zoya: I haven’t directed any typical woman-centric film and my subjects have been vastly different between projects. Yet that is what I keep hearing.
Alankrita: It is a very offensive thing to say that women make typical films. We never set a grammar for male directors or attribute content to their worldview. A protagonist is a protagonist and a story is a story irrespective of the fact whether it is about a man or a woman. The bigger question is whether you are humane and sensitive in your treatment.
Zoya: Absolutely.
Alankrita: Also, when 50 per cent of the population comprises women, why shouldn’t 50 per cent of the stories be about them? If men have been telling stories about other men without getting stereotyped, I don’t know what’s the harm in having women protagonists?
Nitya: Moreover a typical story is a typical story regardless of the gender of the maker.
Zoya: Alankrita’s Lipstick Under My Burkha was not typical at all.
How do you see the digital platform, since all of you are directing for it for the first time?
Reema: Nitya has worked on such a format before.
Nitya: Yes, I directed some episodes of the first season of 24. It was for television but still in an episodic format. This is definitely the first web series.
Zoya: A series has a different base. It has eight hours to tell a story, develop characters, get nuances and layers. There is a lot of time to develop the arc. There is no censorship and no pressure of box office and opening weekend. But you have to shoot very fast and tighten your budget. Yet I thoroughly enjoyed it and considered it a new training ground. I think I really grew up and I want to continue doing it.
Would you say that in films and web series, the projection of women is changing but the same cannot be said about TV?
Zoya: I don’t watch TV honestly because the shows don’t appeal to me or speak to me. I don’t connect with them.
Reema: To be fair, there are also a lot of films and web series that are regressive. It is not as if only this format is regressive.
Zoya: Absolutely. All TV is not regressive, just as every web series is not progressive. I guess it depends on who is serious about challenging norms, pushing the envelope and making a mark.
Would you say that the collaboration between the four of you was a learning process?
Zoya: Any project that you do, you learn. You take something from the team you work with and they take something off you. That is a part and parcel of life. There is a certain comfort and camaraderie that develops. There is a certain amount of trust that you can go to sleep with while the other person has your back. That is something that is non-negotiable. That is not something that you find easily.
Reema: The project has been going on for one-and-a- half years, so you cannot expect us to do nothing but this. So as people came and went, whosoever was there would cover for everybody else.
Nitya: It has been a true collaboration.
Zoya: That to me is very precious.
So all of you have known each other outside work?
Alankrita: We (Zoya and Reema) have know each other the longest since we were assistant directors together in our 20s. We met Nitya on the sets of Lakshya around 2003-2004.
Nitya: They were my bosses. (laughs)
Zoya: We met and we became buddies. The story about Alankrita is really weird because I read her script before I met her. I had read the script of Lipstick Under My Burkha as part of the Sundance Lab which has to be anonymous. I was vetting or judging or whatever for lack of a better word. I read the script and I fell in love with it. Later, when we were developing the script of Made in Heaven, I called up Urmi Juvekar, who is a writer and was part of the same lab, to get Alankrita’s contact. So, I was in love with her before I met her. (Both of them laugh)
Reema: We just fell into a system. I was a bit worried as Zoya and I have been collaborating for long and we have a system. But Alankrita came and fitted right in.
Alankrita: For me, it was a huge learning process as I have never really collaborated for anything from a scratch. I really wanted to work with Zoya and Reema. And it turned out to be so much fun. I think I grew up a lot through it. For me it was very new and exciting. I will really cherish that.
Nitya: In a film you really don’t get the chance to collaborate as much. You will do it with the crew. There is one DOP and you are the director. In that sense, the format is very different. Very rarely do you see that one writer is writing nine episodes or one director is doing all of them. This was more of a collaboration.
Indians are still obsessed with the idea of a big fat wedding. Is that the reason why you did this show?
Zoya: I mean, yes. World over people are obsessed with weddings. Some are big and fat and some are even one-day, compact affairs. Everyone is obsessed with their wedding day. The beauty of the Indian wedding is that it is such a massive celebration and with that comes so much hoopla.
Nitya: Which is a great backdrop for drama.
Zoya: There are generations, family, money — all of that is involved.
Nitya: The show goes really beyond the weddings. They are the backdrop, of course. The tracks of the protagonists (the wedding planners) and the turmoil that they are going through in their personal lives as they are planning them, as well as the new families that pop up in each episode… all jostle for a space in the canvas. So there is a social commentary as well.
Zoya: And there are egos.
After watching the trailer, many people have compared it to the film Band Baaja Baaraat. What do you have to say?
Zoya: People say anything. When Zindagi Na Milegi Dobara released, they said it was like Hangover. When Gully Boy trailer went on air, they said it was Eight Miles. Now they are saying Band Baaja Baaraat. The thing is that all the films that they are comparing with are good.
Nitya: There’s Monsoon Wedding too.
Zoya: We are in good company, so we aren’t comparing.
Reema: Any film that breaks the mould will always be compared.
Zoya: That is because they want to have a reference point.
Reema: Sometimes they are jumping the gun. Sometimes they are being the know-it-all.
When you were conceptualising the show, did you know there would be four directors?
Zoya: When the show got greenlit, our individual films also took off almost at the same time. So we knew that we would not be able to direct the entire season ourselves. Initially, we thought just the three of us would do it but then we realised that we had to add one more because there was no way I could direct more than two. I had to leave because I had to prep for Gully Boy.
Reema: I could not shoot any because I was shooting Gold.
Nitya: I could have directed but then I just became the show runner, so I couldn’t. Despite that, I directed the maximum (three).
Zoya: While we were prepping it, she was promoting Lipstick.
Any more plans of collaborating?
Zoya: I hope so. I feel like-minded people in the industry should collaborate. There is learning, fun and it makes for better work.
Reema: Normally when you are writing and directing alone, it can be quite lonely. So I loved having so many women around.
Photo: Pankaj Kumar
Writer: Saimi Sattar
Courtesy: The Pioneer
The manner in which a film is being showcased matters more than its content, actor Taapsee Pannu tells Ayushi Sharma
As they say, life happens while you’re busy making other plans and actress Taapsee Pannu is a firm believer of that. She says, “Every other person in the world can have a peaceful ride, enjoy the present moment, yet we can’t help but make plans for future in order to be assured. But the actual experience of being alive is beyond those plans that happens to us when they are least unexpected. I am that point in my life where I feel it’s all a dream. I never aimed at becoming an actor. I never dreamt of it. If I hadn’t stepped into this industry, I probably wouldn’t have even realised that I could act.”
Taapsee tries to make the best out of each and every opportunity. She believes that to stay on path, every person must live in the present and “let go of fear.”
About her recent thriller, Badla, which is a remake of a Spanish film, she believes that the Indian audience is not quite open when remakes of any story are made, they prefer original content over anything. However, telling the same story again doesn’t always mean that it isn’t unique. “A story is a world view of what a filmmaker set out to do under the given circumstances and what they bring out from various characters. Though the structure might be of a Spanish film but the entire insight is very different,” she says.
The film, which released yesterday which opened to good reviews, is Taapsee’s second outing with Amitabh Bachchan after Pink, the film which put the spotlight on her.
After portraying disparate and offbeat characters, there is still one left for Taapsee. She says she really wants do X-Men or Avengers as she is a huge fan of super hero films. She says, “It hasn’t happened yet and I’m eagerly looking forward to it.”
Bollywood is currently high on the trend of biopics, and increasingly picking up subjects that portray realism or stand for social causes. The actress disagrees. She feels that it would be better to say that the industry is creating good content rather than forcefully putting realism into its focus. She says, “It’s because we are getting attracted towards more engaging stories. The content matters and when it is real, people have no choice but to connect with it. A good film is one that keeps the audience hooked. It could be any genre — thriller or comedy.”
For her, it doesn’t matter what you are showcasing but the manner in which it is being projected. An instance — Badla.
Taapsee’s next project is Mission Mangal.
Photo: Pankaj Kumar
Writer: Ayushi Sharma
Courtesy: The Pioneer
The manner in which a film is being showcased matters more than its content, actor Taapsee Pannu tells Ayushi Sharma
As they say, life happens while you’re busy making other plans and actress Taapsee Pannu is a firm believer of that. She says, “Every other person in the world can have a peaceful ride, enjoy the present moment, yet we can’t help but make plans for future in order to be assured. But the actual experience of being alive is beyond those plans that happens to us when they are least unexpected. I am that point in my life where I feel it’s all a dream. I never aimed at becoming an actor. I never dreamt of it. If I hadn’t stepped into this industry, I probably wouldn’t have even realised that I could act.”
Taapsee tries to make the best out of each and every opportunity. She believes that to stay on path, every person must live in the present and “let go of fear.”
About her recent thriller, Badla, which is a remake of a Spanish film, she believes that the Indian audience is not quite open when remakes of any story are made, they prefer original content over anything. However, telling the same story again doesn’t always mean that it isn’t unique. “A story is a world view of what a filmmaker set out to do under the given circumstances and what they bring out from various characters. Though the structure might be of a Spanish film but the entire insight is very different,” she says.
The film, which released yesterday which opened to good reviews, is Taapsee’s second outing with Amitabh Bachchan after Pink, the film which put the spotlight on her.
After portraying disparate and offbeat characters, there is still one left for Taapsee. She says she really wants do X-Men or Avengers as she is a huge fan of super hero films. She says, “It hasn’t happened yet and I’m eagerly looking forward to it.”
Bollywood is currently high on the trend of biopics, and increasingly picking up subjects that portray realism or stand for social causes. The actress disagrees. She feels that it would be better to say that the industry is creating good content rather than forcefully putting realism into its focus. She says, “It’s because we are getting attracted towards more engaging stories. The content matters and when it is real, people have no choice but to connect with it. A good film is one that keeps the audience hooked. It could be any genre — thriller or comedy.”
For her, it doesn’t matter what you are showcasing but the manner in which it is being projected. An instance — Badla.
Taapsee’s next project is Mission Mangal.
Photo: Pankaj Kumar
Writer: Ayushi Sharma
Courtesy: The Pioneer
Four women filmmakers from the Indian movie industry – Zoya Akhtar, Reema Kagti, Alankrita Shrivastava and Nitya Mehra reveal what makes them a part of the new content-driven entertainment, one where they are breaking barriers. In a conversation with Saimi Sattar
What do you get when you have four powerhouse directors who have a distinct oeuvre in one place? A swirl of ideas and thoughts that might not be linear but each of which is certainly coherent and individualistic. Zoya Akhtar, Reema Kagti, Alankrita Shrivastava and Nitya Mehra might have learnt the ropes from some of the best in the industry but now are names to reckon with on their own. The four of them have come together to collaborate on Made in Heaven, a show that is being aired on Amazon Prime, a digital platform. So while Zoya, Reema and Alankrita wrote the script where the protagonists are wedding planners, Nitya was the showrunner who ensured continuity as each of them directed a few episodes. They reveal what makes them a part of the new content-driven entertainment, one where they are breaking barriers beyond just gender.
The show is on Indian weddings, the economy and the culture around it. What were some of the discoveries you made while researching for it?
Reema: For that, you will have to watch the show (laughs). Yes, there was a lot of research that we did on the subject and found out so many aspects that we did not know about. Marriage is not big in India without a reason. It is the problem-solver for everything and an equaliser of sorts. Some of our personal and family experiences have also made it to the show. The idea first came from Zoya as she has a friend of hers who works in the business.
Nitya: Zoya and Reema recently attended back to back weddings of two of our mutual friends in Delhi. They stayed with me and since it was like a break from work, we observed everything as spectators.
Zoya: That’s when I realised that there was so much of backroom gush to produce a great magical spectacle, much like a grand film. It was a fascinating mosaic of ideas and imagination. It inspired me so much that I actually got to a desk to write about it.
How did the four of you manage to maintain the creative tempo?
Zoya: The slight style difference is welcome. The bigger picture was that the three of us (Reema, Zoya, Alankrita) wrote it and so we were already on the same page as we had come on board from the beginning while she (Nitya) was the showrunner. It was a challenge to treat the subject visually. Each wedding is episodically different, so each chapter changes how you want to treat it in terms of design and style. We had a continuity with the crew and our actors are very good. The moment they get their pitch, they do not need the director telling them what their character graph is, they know it.
Alankrita: What worked for all of us is that we went with our instinct and gut feeling.
Zoya: All four of us believe in originality and that honesty is the reason why there is a seamless flow to things.
How did you resolve creative differences in terms of show continuity, from one episode to the next?
Reema: That’s why Nitya was the showrunner throughout.
Nitya: That is a part of my job profile to absorb breaks in movement if the crew or the director changes. Not too many people know about this job because it is new. The primary job of a showrunner is to be able to bring everybody that is straying away on the same page and to whatever was decided in the beginning. We did have a writers’ and a directors’ room but we read the entire series from the first to the last episode and if any director had a problem, it was brought to the table as were the suggestions. Like Zoya said, it was nice to have different directors for different weddings. And every time someone was straying, we just brought them back.
Alankrita: We were on the same page while developing it. We knew what the location would be or what we were looking for in terms of cast. When you’ve worked on the material and been a part of the developing process, you kind of know what you want. It made it much simpler that we did not come in from the cold.
Nitya: Once the crew sets in, it is easy whether directors come in or not. If it is not working, then you just make it work.
Alankrita: And we are just this amazing set of people, so we do know how to work well. (All of them laugh).
Nitya: We also had Prashant Nair (director of episode 5 and 6) who was not a part of the process. So I understood that he needed a little more of hand-holding.
Zoya: If you’re clear about your specifics and pen them down to the last detail, work with your actors to grow into the characters… in short if your prep is thorough, there are no disputes.
Would you say that you have been able to break out of that mould of being categorised as women directors?
Zoya: I haven’t directed any typical woman-centric film and my subjects have been vastly different between projects. Yet that is what I keep hearing.
Alankrita: It is a very offensive thing to say that women make typical films. We never set a grammar for male directors or attribute content to their worldview. A protagonist is a protagonist and a story is a story irrespective of the fact whether it is about a man or a woman. The bigger question is whether you are humane and sensitive in your treatment.
Zoya: Absolutely.
Alankrita: Also, when 50 per cent of the population comprises women, why shouldn’t 50 per cent of the stories be about them? If men have been telling stories about other men without getting stereotyped, I don’t know what’s the harm in having women protagonists?
Nitya: Moreover a typical story is a typical story regardless of the gender of the maker.
Zoya: Alankrita’s Lipstick Under My Burkha was not typical at all.
How do you see the digital platform, since all of you are directing for it for the first time?
Reema: Nitya has worked on such a format before.
Nitya: Yes, I directed some episodes of the first season of 24. It was for television but still in an episodic format. This is definitely the first web series.
Zoya: A series has a different base. It has eight hours to tell a story, develop characters, get nuances and layers. There is a lot of time to develop the arc. There is no censorship and no pressure of box office and opening weekend. But you have to shoot very fast and tighten your budget. Yet I thoroughly enjoyed it and considered it a new training ground. I think I really grew up and I want to continue doing it.
Would you say that in films and web series, the projection of women is changing but the same cannot be said about TV?
Zoya: I don’t watch TV honestly because the shows don’t appeal to me or speak to me. I don’t connect with them.
Reema: To be fair, there are also a lot of films and web series that are regressive. It is not as if only this format is regressive.
Zoya: Absolutely. All TV is not regressive, just as every web series is not progressive. I guess it depends on who is serious about challenging norms, pushing the envelope and making a mark.
Would you say that the collaboration between the four of you was a learning process?
Zoya: Any project that you do, you learn. You take something from the team you work with and they take something off you. That is a part and parcel of life. There is a certain comfort and camaraderie that develops. There is a certain amount of trust that you can go to sleep with while the other person has your back. That is something that is non-negotiable. That is not something that you find easily.
Reema: The project has been going on for one-and-a- half years, so you cannot expect us to do nothing but this. So as people came and went, whosoever was there would cover for everybody else.
Nitya: It has been a true collaboration.
Zoya: That to me is very precious.
So all of you have known each other outside work?
Alankrita: We (Zoya and Reema) have know each other the longest since we were assistant directors together in our 20s. We met Nitya on the sets of Lakshya around 2003-2004.
Nitya: They were my bosses. (laughs)
Zoya: We met and we became buddies. The story about Alankrita is really weird because I read her script before I met her. I had read the script of Lipstick Under My Burkha as part of the Sundance Lab which has to be anonymous. I was vetting or judging or whatever for lack of a better word. I read the script and I fell in love with it. Later, when we were developing the script of Made in Heaven, I called up Urmi Juvekar, who is a writer and was part of the same lab, to get Alankrita’s contact. So, I was in love with her before I met her. (Both of them laugh)
Reema: We just fell into a system. I was a bit worried as Zoya and I have been collaborating for long and we have a system. But Alankrita came and fitted right in.
Alankrita: For me, it was a huge learning process as I have never really collaborated for anything from a scratch. I really wanted to work with Zoya and Reema. And it turned out to be so much fun. I think I grew up a lot through it. For me it was very new and exciting. I will really cherish that.
Nitya: In a film you really don’t get the chance to collaborate as much. You will do it with the crew. There is one DOP and you are the director. In that sense, the format is very different. Very rarely do you see that one writer is writing nine episodes or one director is doing all of them. This was more of a collaboration.
Indians are still obsessed with the idea of a big fat wedding. Is that the reason why you did this show?
Zoya: I mean, yes. World over people are obsessed with weddings. Some are big and fat and some are even one-day, compact affairs. Everyone is obsessed with their wedding day. The beauty of the Indian wedding is that it is such a massive celebration and with that comes so much hoopla.
Nitya: Which is a great backdrop for drama.
Zoya: There are generations, family, money — all of that is involved.
Nitya: The show goes really beyond the weddings. They are the backdrop, of course. The tracks of the protagonists (the wedding planners) and the turmoil that they are going through in their personal lives as they are planning them, as well as the new families that pop up in each episode… all jostle for a space in the canvas. So there is a social commentary as well.
Zoya: And there are egos.
After watching the trailer, many people have compared it to the film Band Baaja Baaraat. What do you have to say?
Zoya: People say anything. When Zindagi Na Milegi Dobara released, they said it was like Hangover. When Gully Boy trailer went on air, they said it was Eight Miles. Now they are saying Band Baaja Baaraat. The thing is that all the films that they are comparing with are good.
Nitya: There’s Monsoon Wedding too.
Zoya: We are in good company, so we aren’t comparing.
Reema: Any film that breaks the mould will always be compared.
Zoya: That is because they want to have a reference point.
Reema: Sometimes they are jumping the gun. Sometimes they are being the know-it-all.
When you were conceptualising the show, did you know there would be four directors?
Zoya: When the show got greenlit, our individual films also took off almost at the same time. So we knew that we would not be able to direct the entire season ourselves. Initially, we thought just the three of us would do it but then we realised that we had to add one more because there was no way I could direct more than two. I had to leave because I had to prep for Gully Boy.
Reema: I could not shoot any because I was shooting Gold.
Nitya: I could have directed but then I just became the show runner, so I couldn’t. Despite that, I directed the maximum (three).
Zoya: While we were prepping it, she was promoting Lipstick.
Any more plans of collaborating?
Zoya: I hope so. I feel like-minded people in the industry should collaborate. There is learning, fun and it makes for better work.
Reema: Normally when you are writing and directing alone, it can be quite lonely. So I loved having so many women around.
Photo: Pankaj Kumar
Writer: Saimi Sattar
Courtesy: The Pioneer
As the IAWRT Asian Women’s Film Festival celebrates its 15th edition, director Gauri D Chakraborty tells Chahak Mittal how women filmmakers have to wrest the discourse as they are never been celebrated with open arms
Even though not every film is made to impact people’s mindsets but each of it has the power to chronicle the tiniest change in the society. However, there is a stark difference when a woman directs a film to when a man does.
The IAWRT Asian Women’s Film Festival has been making the constant and conscious efforts to make this difference reflected and showcase narratives woven by women filmmakers from different parts of Asia. Since the festival entered its 15th edition this year, Gauri D Chakraborty, director, felt that she had to make it more “befitting” now that she is assigned to work for it.
“Even though the Bollywood is beginning to change and increasingly shifting towards appreciating women, how many times have we seen them celebrating the spirit of women and the female filmmakers in the industry?” questioned Chakraborty. She believed that this is not just about Bollywood or other Indian female filmmakers, rather a universal purview.
While the festival, held at the India International Centre (IIC), this year received 755 film entries from 37 different countries, choosing out on around 50 films from 20 countries were some tough choices to make. “Initially, after the first round for selection, we cut it down to 257 films, and then finally moved on choosing on a total of 51 films from at least 20 different nations.”
Even though women directors are taking charge of cinema and making an effort to make the society realise of concerns that are important to be looked upon responsibly, there have been debates around the commercial prospects of stories driven by female characters, general perceptions around women on the film sets, and the truth that even female-centric films have been, at times, misogynistic and regressive.
Chakraborty felt that while going through the selection process, they didn’t want anything to be “clichéd.”
“We chose films which highlight the current discourse, and the filmmakers who are aware of what is happening in the society today and are able to tell through their research what society actually needs when it comes to empowering women and enable them to express themselves freely,” said she.
The three-day festival marked debates on the #MeToo movement and how it has been a “critical time” for the film industry and even the women to be awakened and realise what has been wrong over the years that now need a change. Led by Bina Paul and Nupur Basu, the debate included 60 other representatives from various organisations including the UN Women. One among many other subjects was also female gaze and a gaze at them — how women on the film sets are looked upon through various lenses.
“Though female gaze is a very academic term, it’s interpretation is very subjective. It’s important to also show and include the woman’s perspective when it comes to cinema. A woman’s narrative through the cinematic form gives us a view into their world and how they look at other things around them. Men need to understand what the systems mean to them and what they want. They are a voice of all the other women who have been suffering but are unable to speak up,” she said, adding that the debate went on to be very “dynamic and concrete.”
The festival also showcased a special art work installation titled, Bioscopewaali, that made one reminisce about the age-old bioscopes and how peeping through its lenses could still give a tough competition to the current advanced technology — TVs and smartphones.
Chakraborty shared that surprisingly there were people of all age groups who were delighted to see the installation. She said, “The impact was completely different. I didn’t imagine that this would be so attractive to people, especially the senior people. They felt as if something very close to them from their childhood has come back. They were eager to see what the bioscope showed. Even the children of the current generation were happy as they had never seen it before.”
One of the most loved yesteryear entertainers, Chakraborty’s bioscope gave a surge of nostalgia among the more mature generation who have run around on the streets, fascinated, behind the bioscopewalla as soon as he entered their gullys. She said that the bioscope showed visuals of gender texts and people could choose what they wanted to see from a set of films and videos. “I felt it was a great idea to represent film and cinema. It was after all, one of the first ways that cinema came to houses, knocking on people’s doors,” said she.
The festival also saw a two-day workshop conducted specially for underprivileged adolescent girls, titled The Little Directors, led by Meena Sabnani and Samina Mishra.
Writer: Chahak Mittal
Courtesy: The Pioneer
Actor Kartik Aaryan is often mistakenly believed to be a Delhiite, but his heart still beats for his hometown Gwalior. In conversation with Saimi Sattar
“Have you eaten?” Even before I could ask a question, actor Kartik Aaryan fires the first one, making you wonder whether you are on a “social visit” at his home or for an “interview” at a hotel! But then it is this next-door comfort that has made him the nation’s heartthrob, one who equalises reality and aspiration on his sneakers. Dressed in a dark blue suit blazer with a barely there print, white shirt that is unbuttoned and blue trousers, the actor sips his tea perched on the 20th floor and glances around at the people who are assembled in the room.
The actor, who is known for his comic capers in films like Pyaar Ka Punchnama and its sequel as well as Sonu Ke Titu Ki Sweety, is often mistaken for a Delhi boy. “May be it is because of the way I look or my lahja (tone). May be it has to do with the fact that I have done a lot of films that have seen me play a character from Delhi. But yes, this idea has caught on in popular imagination,” says the 29-year-old actor.
Kartik is from Gwalior where his new film, Luka Chuppi, is set. “I could never imagine that I would be shooting in the place where I had dreamt of being an actor. My friends, families and relatives are all there. Everyone knows each other as it is a small town. The welcome was surreal. They started calling me Son of Gwalior. There were huge hoardings with my name and photographs which were a bit embarrassing, especially because they all were from my scrawny days. I wish they had asked me for some better ones,” he guffaws. “It was surreal.”
However the love for the city comes through in his voice. “I took my entire cast and crew around. I loved these boondi laddoos from Bahadura Sweets as a child. So I got those and rasmalai for everyone everyday. Everybody had to chuck their diet plans. The aloo patties are famous as is the poha,” he says as he seems to to be savouring all the delicacies once again.
But it is also in his values that he continues to remain a small town boy who is not affected by failures and success. “I keep on working on myself because that is what I did after getting scolded by my parents,” he says.
Coming back to the present, the actor says that his entire trajectory has been about doing relatable cinema. “Luka Chuppi is about the problems that a small town couple faces when wanting to live-in. But it has a quirk. It is live-in sah parivar (with family). It is a social satire and many can identify themselves with the characters. After watching Sonu Ke Titu Ki Sweety, a lot of people felt that they wanted a Sonu in their life as they felt that they were Titus,” he says.
The actor believes that Guddu Shukla, the protagonist in this film, is the most earnest and honest character that he has ever played. “He is the guy you would want to take home to mum,” he says.
And when one asks him if his claim of being marriage material in a recent interview is true, he immediately answers, “Yes,” without batting an eyelid. And then laughs and adds, “May be I became the character of Guddu. I am shaadi material as I am a person who believes in being together with family. I have shifted to a bigger place recently so that I could get mine to Mumbai after staying alone for seven-eight years.” However, he believes that he is not as righteous as Guddu. “And that is me being honest,” he says guffawing again. The other characteristics that he believes he shares with his role are that he is upfront and committed. If he is convinced about any choice that he makes, he goes for it with great passion.
Besides the relatability factor, what excited Kartik was that for the first time he was speaking in a dialect in the film. “My character is from Mathura, so he talks like the people from there. But the manner of speaking is situational because he is educated. So it changes depending on the people that he is interacting with. I think my rawness will be visible here. While Sonu and the other characters were flamboyant, street smart and with grey shades, here I play an average guy who fits in the setting and is not stylish. His appearance, too, is such that he fits into the scenery. From the first scene you will see Guddu and not Kartik Aaryan.”
So is that his way of making a mark when all the young actors are competing for the same set of roles? “Whatever I am doing, I believe it is working. I have that belief in my sense that it is going in the right direction and I don’t want to change it. I am relying on my gut feel,” he says. About his compatriots, he adds, “I think that this is a very good time for the young brigade as there are so many content creators and avenues of expression. Content is king and that is the reason why there is ample amount of chance for all of us to put ourselves out there in projects which are different and also work on screen.”
Few know that he locked on to this character soon after he finished Sonu ke Titu ki Sweety. “It is not just the protagonists. The side track in the film is an interesting commentary on our intrusive culture. Everybody has a habit of poking their noses in other people’s lives instead of minding their own business. So the elder brother wants to know what the younger one is up to and the third bhabhi might be jealous that the first one has an important position in the family. In this too, everyone has an agenda. Each character has a separate track. That is the funniest thing. There was a lot of situational comedy. When I heard the script I decided that this has to be my next film. I was actually the first person on board.”
It is apparent that Kartik follows everything with a deep conviction and passion. “I was in class VIII when I decided that I wanted to be an actor,” he says. It was in pursuit of this goal that he applied to all the engineering colleges only in Mumbai and Navi Mumbai. “In Gwalior, appearing for PMT and IIT entrance exams was the done thing. I could not have told my parents that I wanted to pursue acting as they would not have been able to afford a course. So engineering in Mumbai became an excuse. I never attended classes as I was busy with auditions,” says the actor who did manage to complete his engineering during Pyaar ka Punchnama 2.
Kartik burst on in the popular imagination with a six-minute monologue in his first film, Pyaar Ka Punchnama, and he has an interesting story behind it. “For three years, I searched online with key words like audition and actors required. I got an advertisement where I was paid Rs 2,500 which was a channel promo where I was holding a placard,” he recalls. It was during this time that he saw an audition call for an unnamed film. “I caught the train from Belapur to Andheri which took 2.5 hours and gave an audition,” he says. The back and forth went on for six months and as a part of the last audition he had to say this monologue which was five and a half pages long! “It was the first time something like this was being attempted. But this was crucial to clinching the role. To add to my woes, I had to perform it the next day,” he recalls. So Kartik did what he knew best. Took it up passionately. “I didn’t sleep. I kept learning it throughout my train journey and then in my PG. I enacted it, recorded it, then saw the mistakes and attempted it again. The next day I kept on doing it in the train. But it was worth the effort as people actually clapped when I finished,” he says, the pride still surfacing in his voice.
During the actual shooting, they worked on a reel camera which has a limit unlike the newer digital ones which are used now. “There was only four-and-a-half minutes of the film left when I started my monologue of six minutes. No one told me that the camera was not rolling for the last one-and-a-half minutes. As I was drawing to a close, the reel finished. I had to do a retake again. I shot at one go and it was okayed in Take 2,” he says. But he feels it was well worth the effort as the monologue is the most popular scene from the film. “It has been circulated all over the world and has been a hit,” he says.
Having nailed it, Kartik went on to top this further. In Pyaar Ka Punchnama 2, the monologue was seven minutes long. “They kept working on the final draft so it came to me when I was in the midst of shooting. But somehow I managed to pull through,” he says.
One reason that his films have drawn flak is the misogynist gaze on the female characters. “See, we are not generalising boys. It is these characters in the films that are roguish and loveable rakes.”
Another reason why Kartik has been in the news is on account of Sara Ali Khan taking a shine to him and wanting to date him or his alleged link-up with Ananya Pandey. Something that has kept his name in circulation among Bollywood’s swish set. But the young star likes to keep it grounded. “I don’t pay attention. I only feel good and flattered but that is bound to happen when someone says something good about you. Link-ups are a part and parcel of the industry and I know how to deal with it,” he nods sagely. The small town boy is growing up.
Photo: Pankaj Kumar
Courtesy: Pioneer
Writer: Saimi Sattar
Bringing a fresh take on Korean Jazz music, Chae Ji Hye blends traditional Korean music with its elements of joy and improvisation. He is in conversation with team Viva.
Since how long have you been performing?
I have been a performer and composer for 18 years in various fields like jazz, pop and Korean music. In 2016, I started Chae Ji Hye’s Go Back Project and through it I am actively pursuing an original music style by combining traditional Korean music and jazz.
What made you combine jazz with traditional Korean music?
The music differs from other groups in that Korean traditional instruments and Western ones are in harmony. While playing jazz, I wanted to build a more personalised style of music. Jazz and traditional Korean music are very similar. Just as jazz has a major element of improvisation, Korean traditional music has an improvisational music genre called Sinawi. In terms of joy and improvisation, we try to showcase the jazz that embodies Korea of this age through its subtle harmony with traditional music.
A brief on the motto — Finding today’s solution from the past?
Its meaning is ‘to make and play original music of this age inspired by the past music of Korea. This resembles jazz a lot in the sense of joy and improvisation which is reinterpreted in a modern way.
How is jazz different from other musical form?
It is the music of communication and of expression of freedom. Its most basic element is improvisation which is a combination of composing and playing. The greatest feature and charm of jazz is that it should be played instantly and according to the situation and place as opposed to prepared music.
While performing internationally, is it easy to connect with audience or do you find it difficult?
All of the band members of Chae Ji Hye’s Go Back Project have held overseas performances. This is the first time I have visited India, but I will try my best understand what the audience likes in order to create the best performance. Park Ji-Young, a member of the team, will play the role of interpreter for our team. We can communicate through her.
Jazz has not been explored much by Indians. What is the scope of this genre in the country?
In Korea, the genre of jazz is still unfamiliar to the public. So we try to play it in a manner that that they can enjoy jazz easily. I think this musical intention will appeal to the audience in India. In addition, Korean traditional musical instruments, unique playing methods, and tones in our music, will attract Indian audience. In order to communicate with more local audience a famous folk song of India was composed by the repertoire in our own style.
Courtesy: The Pioneer
Writer: Team Viva
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