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[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column css=”.vc_custom_1460204096552{margin-bottom: 30px !important;}”][vc_column_text]This film is another small town romance set in Bareilly which is very entertaining and has been written well and directed well. Bitti Mishra (Kriti Sanon) is a sweet natured daughter of a laidback sweet shop owner (Pankaj Tripathi ) and a homely mother (Seema Bhargav Pahwa) who is always on the lookout for a good groom for her daughter. Bitti who smokes with her father is always disturbed by the fact that many boys have rejected her and one night she decides to runaway but at the station she buys a book called Bareilly Ki Barfi from the stall owner and she is amazed at how the pivotal character is like her own character and she decides to meet the author. Chirag Dubey ( Ayyushman Khurana) who has a printing press but after writing the book he decides to put his friend Pritam Vidrohi (Rajkumar Rao’s) name and picture and Bitti decides to find this Vidrohi and she meets the book seller. Munna (Rohit Chaudhary) who is a friend of Ayushmann tells him that Bitti is in love with him and loves the book and decides to meet him in person, but the problem is that the real Vidrohi is selling some sarees in a saree shop in Lucknow and has no interest in meeting Bitti. So Ayushmann decides to write letters to Bitti and she responds and wants to meet him. So Ayushmann and his book stall owner friend persuade Vidrohi (Rao) to impersonate Ayushmann and then a whole set of comedy of errors begins and ends in an entertaining way. The director Ashwini Iyer Tiwari shows that Nil Battey Sannata was not a flash in the pan and Nitish Tiwari shows why he is such a revered director writer. Performance wise though Ayushmann Khurana is the leading man and does well, it is Rajkummar Rao who steals the show and brings the house down with his antics. Kriti Sannon looks attractive and shows why so much is being made of this talented actress. Pankaj Tripathi, Seema Bhargav Pahwa, Swati Sehmal as Bitti’s friend Rama, Rohit Chaudhary are able performers and lend credence to the proceedings. The music is very good and lots of peppy compositions are the plus point of the film. The cinematography is colorful and easy on the eyes. The editing is precise and perfect. Altogether a rather engaging rom- com, though one sees the shades of Sirf Tum, The Pawn Shop Next Door, You Have Got Mail, The Truth about Cats and Dogs, in the film.[/vc_column_text][/vc_column][/vc_row]


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[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column css=”.vc_custom_1460204096552{margin-bottom: 30px !important;}”][vc_column_text]This is a very independent kind of art house cinema .Shreepad Naik is a struggling copywriter in Bangalore who has to work hard to get jobs and earn pin money though he has a very supportive father who wants him to get a corporate job and earn a hefty package. He is invited to his friend’s marriage in Ludhiana and then he gets embroiled in circumstances which are beyond him when he is hit by the very friends who are a part of the marriage party and left for dead in a van which goes to Nepal carrying bombs and he is caught by the terror group, abducted, gagged and tied up. Eventually he escapes from there and meets a kind French tourist couple and their driver and a budding entrepreneur who give him money to get back to his Bangalore town but not before he has learnt his life lessons well. The director wants to tell us that we shouldn’t be happy frogs in our own well but explore and learn to face life with strength and take is at it comes. Director Sandeep Mohan has made a rather “different” film but watchable. The budget is low and the actors are all novices but do a good job. Other technical aspects are okay. The background music is good.[/vc_column_text][/vc_column][/vc_row]


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[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column css=”.vc_custom_1460204096552{margin-bottom: 30px !important;}”][vc_column_text]The film is a romantic drama about a fun loving talented architect engineer Raghuvaran (Dhanush) who has a nagging but lovable wife (Monal Gajjar), loving brother, and a caring father. He is down to earth and believes in collective good and when he is awarded as the Best Architect for a project, he sends his associate to collect the award but when a rival Vasundhara (Kajol) notices his talent, she wants him to work for her company Vasundhara Constructions which is the No.1 construction company but Dhanush refuses her as he is grateful to his present boss to whom he is indebted for giving him a break but Vasudha considers this as an affront and decides to teach Dhanush a lesson by hindering him in all his work and trying to destroy him but Dhanush doesn’t give her any notice and dares to call her a girl who is arrogant and with a lot of attitude which hurts her badly. On a very rainy night by fate they are caught in the same office and they come closer. The film has an 80’s kind of drama and reminiscent of Anil Kapoor’s film ‘Laadla’. It is a good comeback vehicle for Kajol who looks beautiful and acts with a lot of fire. Dhanush dances like a dream and acts impressively. The director has done a good job. The music is pulsating. Overall a rather watchable film.[/vc_column_text][/vc_column][/vc_row]


[vc_row][vc_column][vc_single_image image=”6595″ img_size=”full”][/vc_column][/vc_row][vc_row][vc_column css=”.vc_custom_1460220403733{margin-bottom: 30px !important;}”][vc_column_text css=”.vc_custom_1503125898516{margin-top: 30px !important;}”]Super Cinema’s founder Late Vikas Mohan’s unreleased gem LIBAAS which was directed by the prolific filmmaker Gulzar will finally see the light of the day after 29 years. The movie starring Naseeruddin Shah, Shabana Azmi and Raj Babbar in the lead will have its release later this year. Zee Classic with their new brand positioning of ‘who zamaan kare deewana’ are backing the movie in association with our acting editor Amul Vikas Mohan. As it was Gulzar’s 83rd birthday yesterday (Friday), the makers decided to make a quick announcement. LIBAAS was showcased at IFFI, Goa a few years ago and was lapped up by the audiences and the movie anyways has a cult following of sorts. One of other key reason the movie has a cult status is because of its enchanting soundtrack which was provided by RD Burman. LIBAAS is based on writer-director Gulzar’s own short story titled Seema. Gulzar last directed HU TU TU way back in 1999, he however continued to work in the industry as a lyricist till date. The release date of the movie will be announced shortly and Zee Studios will be distributing the movie.[/vc_column_text][/vc_column][/vc_row]


[vc_row][vc_column][vc_single_image image=”6592″ img_size=”full”][/vc_column][/vc_row][vc_row][vc_column css=”.vc_custom_1460220403733{margin-bottom: 30px !important;}”][vc_column_text css=”.vc_custom_1503125560127{margin-top: 30px !important;}”]The much awaited trailer of David Dhawan’s JUDWAA 2 is going to be released in a few days but those who have had a little dekho of the trailer are sitting very confident of the movie. The Varun Dhawan, Jacqueline Fernandez and Taapsee Pannu starrer is up for release at the end of September but already the trade is getting excited enough for the movie. Sequel to the blockbuster JUDWAA (1997), the movie also boasts of a special cameo by Salman Khan in the new version. Set in London the movie is surely going to get the cash registers worldwide ringing. The makers are releasing posters to build up the campaign and next week the trailer is going to be attached to A GENTLEMAN as well. Produced by Sajid Nadiadwala and backed by Fox Star Studios the movie is up for release on September 29th.[/vc_column_text][/vc_column][/vc_row]


[vc_row][vc_column][vc_single_image image=”6589″ img_size=”full”][/vc_column][/vc_row][vc_row][vc_column css=”.vc_custom_1460220403733{margin-bottom: 30px !important;}”][vc_column_text css=”.vc_custom_1503125352449{margin-top: 30px !important;}”]2017 is clearly the year of the content pushers. The movies which have created history at the box-office this year have clearly had an edge due to its content. But the biggest game changer has to be the advent of the many digital platforms which are now popping up everywhere. We have Balaji Motion Pictures’ ALT Balaji OOT platform which recently got a massive funding from Mukesh Ambani’s Reliance Group. On the other hand, Sameer Nair has now joined Birla’s Applause Entertainment which had shut up shop almost a decade ago to make digital content for various other platforms. Disney India is also looking to start a digital OOT platform hence they took off all their existing material from other platforms in this month. Apple is rumored to be looking to make a massive dent in the OOT scene with what many believe to be backed by a billion dollar ambition. There is already Netflix, Amazon Prime, Eros Now, Voot and other platforms vying for the top spot in India. Looks like exciting times ahead!![/vc_column_text][/vc_column][/vc_row]



[vc_row][vc_column][vc_single_image image=”3364″ img_size=”large” alignment=”center” style=”vc_box_shadow_border_circle_2″ el_class=”supercinema”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text el_class=”supercinema”]The Federation of Western India Cine Employees (FWICE), the film industry workers’ union, which went on strike from August 15 is still going strong and four to five thousand workers are on strike and presently 16 of them are on a hunger strike. The cause, they say is the producers’ bodies like IMPPA and IFTPC and their failure to revise their remuneration. Dilip Pithwa, FWICE general secretary, says that the reason for the strike was their agreement in October 2015; we were told that we’d get 11 per cent wage hike in 2016 and another 11 per cent in 2017 which was not adhered to in the last two years and hence these extreme steps. He says that it is only the TV producers who are adamant in not giving in to their demands and they would rather bear losses than give a pittance to workers. Some of the associations like the producers body led by Ashoke Pandit are not a part of this strike because he is close to the producers against whom the workers are agitating. Pithwa adds that they didn’t complain about not getting the increment last year and now, they are only asking for 11 per cent, which most filmmakers have agreed on, but the TV producers claim that it will be difficult for them since they are not doing well. I’ve spoken to broadcasters and they have agreed to pay 7.5 per cent of the sum. The TV producers only need to shell out 3.5 per cent. Going on strike says Pithwa, was the only available option for FWICE, because the members are upset about not being taken care of by the producers. He further adds that they have lost four production executives on set due to stress. Our members work beyond working hours and don’t even get paid for their phone bills and conveyance. This stalemate should be resolved as soon as possible because shootings stopped in film city and other studios will cause grave losses to producers and that the TV channels and other producers aligned to TV will have no episodes in their bank and they will have to re-telecast their episodes on prime time which the advertisers and sponsors won’t like. At the same time the cine workers too should understand the gravity of this strike and be happy that they are paid most than other industries like whereas a spot-boy earns Rs. 25000 per month and this should be considered healthy. They should also understand that it is due to the efforts of the producers that their kitchen is running and if they desert the producers in their times of need, a wannabe producer will think twice before entering this industry. Arm twisting the producers won’t help in any way and they should come on a common platform and come to an agreeable agreement as soon as possible or it will be a death knell for this already be-leaguered industry which is going through a tough time already for various known reasons. So be sensible and agree to agree than disagree.[/vc_column_text][/vc_column][/vc_row]


[vc_row][vc_column][vc_single_image image=”962″ img_size=”full”][/vc_column][/vc_row][vc_row][vc_column css=”.vc_custom_1460220403733{margin-bottom: 30px !important;}”][vc_column_text css=”.vc_custom_1503127704612{margin-top: 30px !important;}”]We thought that the ways of the kickbacks were a thing of the past with so much transparency these days in all the sectors it seems shocking to know that this practice is still alive and kicking. This is the story of a foreign multinational company which set up shop on the Indian shores not so long along. They got a well reputed head from another multinational company in the country to head their new operations. Everything was going smoothly until they fired the head although the press note would have you believe it is a mutual parting of ways. The real reason for this sacking apparently has come to light and it seems this head of operations took major kickbacks from the companies he was dealing with and in almost all the deals he had his massive cut in the deal. The foreign multinational got a which of this and immediately gave him the boot. We don’t blame them it will be interesting to see who this guy goes up to fool next![/vc_column_text][/vc_column][/vc_row]


[vc_row][vc_column][vc_single_image image=”962″ img_size=”full”][/vc_column][/vc_row][vc_row][vc_column css=”.vc_custom_1460220403733{margin-bottom: 30px !important;}”][vc_column_text css=”.vc_custom_1503127525892{margin-top: 30px !important;}”]This actor has two major releases lined up next year. One of the two movies is already complete and the post production work on the movie is already underway, however this movie is actually lined up to release later in the year. But the other release which is not yet fully out the door has a release date much before the other one. Now the twist in the tale is that the makers are aware that they will surely have to move the release date of the movie as it looks highly unlikely that they will meet the set deadline eventually. Hence they requested the makers of the other ‘completed’ movie to announce a release date of the movie a few months later than their own. The reason is very simple they want to switch the release date of the movie eventually and it would be easily done if they already have the other one blocked too. Smart thinking indeed![/vc_column_text][/vc_column][/vc_row]


[vc_row][vc_column][vc_single_image image=”6580″ img_size=”full”][vc_column_text]Interview By: Amul Vikas Mohan[/vc_column_text][vc_column_text css=”.vc_custom_1502540082795{margin-bottom: 50px !important;padding-top: 20px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;background-color: #d0c5db !important;}”]

He’s making all the right moves it seems – with different films connecting to different types of audiences. Riding high on the success of his last release, ‘Mubarakan’, we catch up with Arjun Kapoor for an exclusive chat! Exerpts:

[/vc_column_text][/vc_column][/vc_row][vc_row css=”.vc_custom_1460326011950{margin-bottom: 30px !important;}”][vc_column][vc_column_text]Firstly it’s been almost two weeks since ‘Mubarakan’ has released so what’s the first reaction you have been getting ?

The first reaction being a producer’s son is; I have always kept at the forefront that people should be happy making the film even at the end of the film. When they look back and check their accounts also they should be happy because journey is always good but eventually you need to have accountability for it. So I’m very happy about the fact that the film has made the studio happy, the producers are happy, the director is happy, the team is happy in general with the reaction and the feedback, because this kid of universal love is very rare for a film.

And for a genre like this since it’s more or less an off genre now…

It’s a genre which has not given any regard or respect, it’s a genre which is supposed to be for a particular type of audience but now the lines are blurring when we see the years go by. And if one will see the film, it’s not only talking about the comedy genre, it is well scripted, well-performed, well-shot, well-made film and its come together as a proper unit, it’s not a project. So to put all those fears to rest and get common man’s love is something that you cannot buy. Like when I’m roaming around in the car and people knock and say thank you – what a film has been made and that they will take their families for it, so you can’t quantify that into anything else. Of course we want to make the maximum money, nobody makes films in an intention that it just goes well; everyone wants it to work out well. But the one thing you also cannot plan is how much love you will get for a film. Some films do well and still get mixed emotions but this film has got unanimous appreciation, that I think is post ‘Ishaqzaade’ and ‘2 states’, this is my universal loved film and that for me is what I cherish a lot. And I’m very happy because the content collection feels is going right, in the end the execution is not in your hand but you select content that appeals to pan India and then to pull that off and you get connected with new audiences and that is very important for a young actor which people don’t realise. If ‘Ki & Ka’ got me the urban female audience and the women took interest in the film because of the thought process of the film. ‘Half Girlfriend’ got me the masses because to get masses from a romantic film is not an easy task. It’s the northern belt where it’s difficult to get people into the theaters.

And especially for a young actor to break into that belt…

Yes, so to do a ‘Gunday’ and get masses is an easier thing because it’s a action film, do a ‘Tevar’ and you get masses, but to do a romantic film and get masses appreciation and playing a character from heartland, then to do a ‘Mubarakan’ and get family audience’s love. A family will not come and see a film until the quality of material is there or the quality of appreciation is there. The family audience is a very big rarity where you see kids and older generation coming together under one roof. So I’m happiest about the variation of audience that I’m connecting to, so I think, all and all, with every film I’m growing. And I’m still repaying the investment which is most important in the bigger picture.

As you said earlier, you are a producer’s son and you understand the dynamics since you come from the industry, so is that why you want to stretch yourself further?

Constantly there is excitement to grow as an actor, to take roles which scared you or that push you. Whether it’s Karan – Charan or Madhav Jha, or Kabir from ‘Ki and Ka’, or any of my films, like ‘2 States’ or ‘Gunday’in every film the aspiration has been as an actor I want to grow. But art cannot alone withhold itself for a long period of time if you ignore the business element of it. That’s very important to have that balance if you want to push the envelope and experiment and try new things, you have to keep in mind the amount of money that has been spent in for you to do it, you cannot just blind fold yourself and do it. That is the basic thing I have kept in mind even if I’m doing off thecuff films or going off my collections, I have to safeguard it so ‘Ki &Ka’ was safeguarded number wise. It was made economically I never made it over loaded nor did Balki sir. Same thing for ‘Mubarakan’ we made sure that the film had enough leverage for the producers to recover so whether it was ocular right which is always important. Since it’s a trade magazine it’s easier to explain because you know how important satellite music, overseas, digital today is, and all those revenue schemes are important. If you want to make a big budget entertainer so one needs to make sure that you are worthy of that big budget film. So I always selected films which have recovery on the table, at least 70-80 percent is safeguarded as much as possible. At least then you know the producers are not going to have sleepless nights on the day of release because I know how it feels like to see my father to go all out and invest and put completely bet on the film and that’s not always going to happen since the profession is not 100 percent successful. And I would love to have a producer who goes beyond but in my means I would love to safeguard my producers. I wish I could do that for distributers and exhibitors also personally, but that’s not in my hands all the time sometimes you cannot control a film doing well in a particular place and not doing well in some other state. Its film squiring, its audience squiring, and the regional films plays hands on sometimes. But honestly the idea is that your art, your craft, you push the envelope but don’t do it on someone else expense and burning someone’s pocket.[/vc_column_text][/vc_column][/vc_row][vc_row css=”.vc_custom_1460326021861{margin-bottom: 30px !important;}”][vc_column width=”2/3″][vc_column_text]So do you think that gives you an edge over these younger actors today, who are your contemporaries; an edge so that you can experiment things in a different way? 

I don’t know about the edge but everybody has a different style of working and for every film you need to mould yourself and what the film needs are. You need to come as an actor and do your job and leave as an actor and leave the rest to others. Sometimes you need to contribute in your own way to put in together in a way where you can make a team effort and if you can help and schedule your film, make it tighter and work for more 2 hours to crunch a day and save that money and use that money in a particular song if one needs to invest extra. Like “Hawa Hawa”, was an expensive song so we did that song in 4 days and we didn’t take 5 days. So I worked hard for that and I had to come and make that effort. I don’t know if it gives me an edge in front of the audience because I don’t think they will ever see all this. I would like to believe that it gives me an edge in terms of longevity, it allows me to always be in touch with reality and work with the business pint of view along with the art and I’m nobody to say one should always think about the art as an actor you need to think about it first and foremost. But to survive and do the kinds of films you crave to do artistically you have to have a commercial sensibility also. And that balance will always allow me to take bigger risk in future because after sometime you will also get bored from the same kind of films and want to push the envelope to a film which may be everyone else will say not to do. It’s a easy example to give but today Aamir Khan is able to do a film like ‘Dangal’ because the way he has worked in his career and made sure that his films a have been safeguarded commercially all the time, there have been enough to safeguard it. He has done a ‘Ghajini’ along with a ‘Rang De Basanti’ so to have both those audience you have to make sure that your films are constantly going plus. Sometimes you save the cost, sometimes you be the part of the team, sometimes you think the film’s selling goes right, there are various ways and have a full proof plan. And I don’t think it gives me an edge with the audience may be it gives me an edge in seeing a script and say that the budget is more but the recovery won’t be great. I shouldn’t burn somebody’s pocket even though I’m excited about the film, which is the way I look at it; I cannot gamble to that extent. If there is a buffer between 10 to 12 core and if the producers are willing to and even I’m willing to, then we can take that risk, you have to be aware on the numbers that you are putting on a gamble because film making is gambling and rather you play it safely because what will happen is that if it’s a major loss then next time the person will twice to put money in it.[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_custom_heading text=”“There are positive sides and negative sides in a film and we have more positive ones. I always focus on positive one and learn from negatives and move ahead” ” font_container=”tag:h2|font_size:18|text_align:center|line_height:2″ google_fonts=”font_family:Condiment%3Aregular|font_style:400%20regular%3A400%3Anormal” css=”.vc_custom_1502541206894{padding-top: 20px !important;padding-right: 5px !important;padding-bottom: 5px !important;padding-left: 5px !important;background-color: #eaeaea !important;}”][vc_single_image image=”6581″ img_size=”full” alignment=”center”][/vc_column][/vc_row][vc_row css=”.vc_custom_1460325104671{margin-bottom: 30px !important;}”][vc_column][vc_column_text]Now that we see all double roles stories are back in action so do you like this genre and do you like doing it? Since it’s with new technology which is slightly easier I believe… 

Which is very tiring and very exhausting, it is much easier for the audience to watch because of the technology but the process is not east at all.

It was seamless and in ‘Mubarakan’ there were lot of scenes together of the character. It didn’t feel like it was cheated.

Yes I worked really hard on that with Anees sir that it should be fun while watching it, it shouldn’t seen like two Arjun’s are playing it should be seen as Karan and Charan. So that validation is the love of the film and people say that Charan was mind-blowing in the film, when you’re coming out and loving one character but you’re seen the contrast in one character that’s why your loving that character. That’s the trick, if Charan would be alone in a film it wouldn’t be appreciated but since there’s a Karan and Charan that’s why people love it. I love doing double roles, and I’ll continue doing it. I think I learnt it in ‘Aurangzeb’ and I had a blast in ‘Mubarakan’ and until unless you are doing it seamlessly it’s the best thing. And in ‘Mubarakan’ the best part for me is not the double role which had a mistaken identify it s that they are co-existing in the same world and all other characters are aware of them. If you give me a new hook on a double role I’ll be more than happy and I think this is the most unique double role in coming time.

Exactly in recent time you can’t think of anyone who did it, and even in ‘Aurangzeb’

And in ‘Dhoom 3’ it’s hidden and here all the characters know about it and them talking about it. If it’s unique as this I would love to do, but it’s very hard to write double roles which are unique and to play the cliché of the mistaken identify and brothers who are separated at birth or father – son look alike but this kind of double role hasn’t happened.

Are you happy in a way this year is going for you, be it with ‘Half Girlfriend’ and ‘Mubarakan’ now? 

Genuinely I’m really happy now because end of the day you cannot control everything but what you can control is people are coming out to see your films, by doing the right kind of films that connect with the audience. How many people can come, is something no one can control. So if you ask me that was I satisfied with ‘Ki & Ka’ box office to I will say no it could have earned more that happens with all of your films. But if you ask me in terms of hard work I have put on and the journey of working with Mohit, Aneez and the music of ‘Half Girlfriend’ or also during shooting the kind of places I travelled, to do a romantic genre and to do a comedy genre, I think that kind of contrast I got to do these kind of films, I am really happy. Nowadays it takes three days to decide whether a film is doing well or not and my both film received good response. There are positive sides and negative sides in a film and we more have positive ones and I always focus on positive one and learn from negatives and move ahead. I believe that I had a positive year.

After ‘Mubarakan’ immediately it was SRK’s film to be released followed by Akshay’s film too, but it had a good response even on the second week, do you feel that was a good time to release film?

To ask me honestly we didn’t think anything in first beyond the days. Also people think that if it’s a good film it will sustain, that is the believe people have in them; it’s very rare to see this kind of love to sustain a film, it genuinely feels people wanted ‘Mubarakan’ to do well. People are actually not bothering that weather it’s a first Friday or second Friday or a Sunday they are just ready to watch the film and some are watching it again to have fun, it’s heartening to see that. If you ask me did I hope to happen this? Then I would say yes, but to see miracles happen and it’s surprising. You see such mini miracles in plexus kind of film which are word of mouth films, but to have a Pan India film to continue this journey is I think ‘Mubarakan’ is a reference point and an example for people.

You are coming up with two more new films which has same lead actress which whom you started off your acting career, so how special it is and how tricky it can get, tell us about that?

I am right now doing Dibakar’s film; other films are yet to be sorted. The thing is, as exciting it is to be working back with person with that you started your journey with as it’s been five years, you don’t know how the working way has changed for both of us. We both would be nervous, and the main thing is, doing a film and Dibakar is an exceptional director in terms of craft, performance. When we were at YRF we both wanted to work with him and we had joked about it with Adi, and now it’s actually happening. It’s a very intimate film and I think it will be far more intimate than ‘Ishaqzade’. Now being known to each other from five years and again acting unknown, creating that chemistry would be fun. Genuinely Parineeti and I got a great response that people were actually waiting for us to work together after ‘Ishqzaade’. It’s going to be different than ‘Ishaqzade’ and then later ‘Namaste Canada’ also will be drastically different from Sandeep and Pinky.

So are you taking off from work for some time?

I am going to start prepping for Dibakar’s film by the end of the month and start shooting post Diwali, so I will be done by December with that. And I am figuring other things like which scripts to take up further as I didn’t had enough time.

You have been working with prominent directors in industry, how do you pick them, it’s your luck or your call?

In the first few years I was honestly picking up all the good work I was getting. After ‘Ishaqzade’ I got great scripts I feel, earlier I was working with all new directors who were great too. I think it would be luck and the phase; then I started working with big directors like Mohit, Balki and more, as I felt that will improve me more. At start I could choose the material and as the time passed I could choose material along with the directors whom I felt can do justice to the material. I have said in the past also if the script of ‘Ki and Ka’ would come with other director I wouldn’t do it. Balki making that film I felt can handle it well. With ‘Mubarakan’ I felt I want to do comedy from the space where the command is there from the director well. I am happy Dibakar chose me, it’s not luck it’s been a journey and sometimes you have to keep your head down and your eyes open and easy open and keep working. I always say that keep your head down and chin up.[/vc_column_text][/vc_column][/vc_row]