It's a Kanan Iyer film. Vishal Bhardwaj is producing and writing it.

It is not horror (film), but a supernatural mystery. It's kind of a magical film," the 29-year-old said here while unveiling new bags by Hidesign.

Earlier, Vidya Balan was to be a part of Daayan but pulled out of the project reportedly because she didn't want to feature in a hero-centric film. Kalki is also excited about Dibakar Banerjee's Shanghai , in which she plays a social activist.

She will share credits with her Zindagi Na Milegi Dobara co-star Abhay Deol, but clarifies that there won't be any romantic angle between them. " Shanghai is a political thriller and will release in June.

I play Shalini, a passionate social activist. "In Shanghai , me and Abhay are not together.

We are not paired opposite each other. Our tracks in the film, are different so we are not exactly working together," said Kalki of the film, which will release June 8.

Kalki, married to filmmaker Anurag Kashyap, was last seen in My Friend Pinto , which failed to do well at the box office. Tweet (less)

On Mother's Day, on-screen mothers feel that there's a sea-change in the way mothers are portrayed in Bollywood ..

. Shabana Azmi: "The mother in Hindi cinema has always been an avtar of Mother India, strong, principled, the chief custodian of the errant son's morality.

Given to sacrifice and hardship, she battles all odds to bring up her children. Today she is changing whilst essentially retaining the core values.

Dolly Ahluwalia in Vicky Donor drinks along with her mother-in-law whilst an indulgent son says, "She works so hard a drink relaxes her." She runs a beauty parlour, has a short temper, screams at her son but has a heart of gold and after initial resistance supports her son in his decisions.

Kajol in My Name Is Khan is a working mother far removed from the coughing hapless Leela Chitnis. Long before these, Waheeda Rehman in Trishul is a revolutionary mother who challenges her son to seek revenge for his desertion 'nahi to main doodh maaf nahi karoongi' Salim-Javed's mother-figure was always central to the story line, particularly in Deewaar .

Since my first film Shyam Benegal's Ankur I have been claiming 'yeh bachcha mera hai' as the raison d'etre for keeping the child from an illicit relationship. I upheld a woman's right to determine the fate of her womb in Mrinal Sen's Genesis, Prakash Jha's Mrityudand and Kalpana Lajmi's Ek Pal.

Zarina Wahab: "I lately played Shah Rukh Khan's and Hrithik Roshan's mother in My Name Is Khan and Agneepath , respectively. I had more to do than mothers do in films these days.

Screen mothers have been completely marginalized. Nowadays children don't need their mothers to guide them beyond a point.

And if the mother tries to make her presence felt the the children say, 'Mom, give us space'. Movies are doing just that.

They are letting mothers be. There isn't much for them to do.

Earlier there used to be a strong emotional track with the mothers. Nowadays moms are too cool, if they're there at all.

In Shristi Behl's I Me Aur Main, I play John Abraham's mother. It's a different kind of equation.

When she visits her son he feels crowded. Moms are no longer indispensable.

" Lilette Dubey: "There's a sea-change in the way mothers are portrayed. We at least recognize to some extent that a mother is an individual with her own needs and identity.

They're no longer the long-suffering martyrs. They're more real.

More today. The mother I played in Gadar is a far cry from Monsoon Wedding or even My Brother Nikhil.

But they are nonetheless mothers with their own strong individual characters." (less)

And if not that, then some power-packed performances. Unfortunately, Khamosh, Adalat Jari Hai fails in both aspects.

This drama is the Hindi translation of Vijay Tendulkar's best known Marathi play Shantata! Court Chalu Aahe (1967), a tale which is a metaphorical trial between the humanists and the anti-humanists. The story begins with a group of people, who are planning to stage a play in a village.

Since one of the cast members doesn't show up, a local is asked to replace him. To make him understand the courtroom procedures, a rehearsal is arranged with a mock trial.

But the story takes a twist when the pretend-play suddenly turns into a grim charge - Miss Benare is charged with foeticide, as well as accused of having an illicit relationship with a married Professor Damle, the missing member of the cast. Unfulfilled desires, gender discrimination, certain redundant social customs and the sources and manifestations of power are some of the ideas this heavy drama tries to touch upon, which were relevant 40 years ago.

You would think that the fact that some of these themes are not very pertinent today would be the biggest drawback of the play (since the script hasn't been altered). Of course, the audiences have changed and Khamosh could do with a contemporary set up.

But that's not even the biggest problem. Why? Because even today, extra-marital affairs and live-ins are frowned upon and foeticide and child abuse are considered unacceptable crimes.

It's the length of the play which is an eyesore. For the first 20 minutes, the story simply crawls at a slow pace, trying to build an ambience, but it only gets the spectator frustrated.

The play oscillates between reality and illusion, which can confuse you, if you aren't paying close attention (which is bound to happen). Yet there is a silver lining.

You're occasionally provided laughs by the Kashikars and Samant, which are a breather. But that's about it.

Finally, in a hard-hitting drama like this, you expect to be moved to tears by the plight of the main protagonist. In this case, Leena, enacted by Preeta Mathur attempts that with her 10 minute soliloquy.

But by then you're so restless, you're just waiting for this dragfest to end (less)

. The whole year round, we hear of movies and stars going to, being selected for, and winning awards at various global festivals - but I'm not sure most of us, the writers included, quite understand the comparative relevance or magnitude.

At some subconscious level, we club all "international" recognition at the same plane, including most of the media..

. Forget the media, our industry doesn't have a clue! That whole market works in a certain way; they don't have a clue how it works.

Right. So you're being talked about in the Cannes context.

What's the big deal? What exactly is Cannes about? It's very simple. There are four official sections, which are the competitive ones and the ones where movies are selected on merit (it's rather complex for a layperson to understand).

And there's a common award across all the four categories, which is the Camera d'Or. First-time filmmaker, kisi bhi category mein, Camera d'Or ke liye eligible hota hai, which is the first-time filmmaker award - jo Salaam Bombay ko mila tha, which changed Meera's life.

So these are the four categories. And then there's the Market - the Marche du Film.

For the Market, anyone can go. A random Kanti Shah can also go to a Market.

All he has to do is pay money for it, and book a screening, to sell the film. So India se jo filmein jati hain, hamesha Market mein jaati hain (laughs), which is simply a paid screening.

And we keep saying 'It's been selected for..

.' Yes.

..

'It's been selected for'. And the Red Carpet people go to, which we make so much fuss about, is sponsored by some brands which support the festival; like Chivas supports it, L'Oreal supports it.

..

So that appearance is that kind of a thing. What you're saying is they're not going as 'film people' in their own right? They're not; they're going as brand ambassadors.

There's a slot for L'Oreal, or Chivas, whosoever they bring, will walk. And they use it for their advertising.

Cannes never uses those pictures. You'll never find it on the Cannes sites.

So yahaan pe kya hota hai, anybody who's going to Cannes, we say, they are walking the Red Carpet. Red Carpet toh, hamare IFFI (International Film Festival of India) mein bhi hota hai (laughs).

Carpet ka colour red hota hai! It's all a media thing. Officially, India se, pichle nau saal mein - iss saal chaar jaa rahi hain - aur ek Udaan gayi thi.

Aur kabhi koi film hi nahi select hui hai! Officially. Films have been selected by filmmakers of Indian origin or something to do with India, like Chatrak gayi thi, by a Sri Lankan filmmaker, but shot in India.

Partly funded by an Indian. So those kinds of things have happened.

But a very Indian film has hardly ever gone there. So there's no correlation between big money, superstars, and recognition at such events, right? Hum log bohot kam paison mein banate hain.

Gangs of Wasseypur studio-funded hai. If I'm directing, I get funded by the studio.

If I am producing, newcomers, they don't get funded by the studio. Because of our various festival things, today I don't need a studio to fund an independent movie.

I get money from Germany, from France. Like Peddlers, they made it with money on Facebook.

We just put it out that we need partners, giving 10 lakh each. In two days, we had the money that we needed.

So, the movie has become a fund. So that when it goes to Cannes and gets sold, they get returns.

And they get a co-producer credit. It's like how Reliance started.

That's the only way. Go to like-minded people who want this kind of cinema, to give you money, so that you can keep making this kind of cinema.

I don't need a studio, I don't need a star. We're making a film called Lunchbox; Germany gave us 100,000 Euros.

I have learnt this the hard way and we have consistently been delivering. Because we are representing India on the international platform, with a regularity over the last four years - we have been at every festival.

If you look at Cannes, out of the four films selected, three are ours. Udaan was also ours.

So the maximum representation is going from us. They trust us.

Now we are doing co-production - the man who made No Man's Land, we are co-producing his next film. The Brazilian government is announcing a co-production, which I am co-producing, for a Brazilian filmmaker in Columbia, which is co-produced by Oscar-winning Walter Salus.

And I co-produced Michael Winterbottom's Trishna . Now any international film coming to India, they want to work with us.

What happens is, most of the festivals, distributors don't want to deal with Indians. Because the first question Indians ask is kitna doge? That's the only question they know how to ask.

Inka diaspora ka market hai na. So then this is the biggest year, in that sense, if you're saying four.

..

Yes. This is the biggest year so far for India in the history of Cannes, because itni filmein ek saath kabhi nahin gayin.

Jab Ray ki film jaati thi, toh ek Ray ki jaati thi, ya ek Mrinalda ki gayi thi. This time, we have Gangs Of Wasseypur, parts one and two, if you count them as two, otherwise it's one.

So there's Gangs of Wasseypur, Peddlers, Miss Lovely, and Kalpana restored, Cannes Classic mein. Kalpana jo Martin Scorsese ne restore ki hai, the Indian film of Uday Shankar, 1948 mein jo bani thi.

Yeh print kho gaya tha jo bahar ke aadmi ne sponsor kiya hai (laughs), and actually if you see, there's a guy that nobody in media is talking about, is Shivendra Singh Dungarpur, Raj Singh Dungarpur's son, ad filmmaker, who's become part of the restoration process, who found Kalpana. He's the one who is funding the restoration of the next Hitchcock film, from his own hard-earned advertising money.

He's become part of the organisation. Whose achievement the media has completely skipped.

Nobody knows. Shivendra Singh Dungarpur has gone ahead and done something nobody's doing.

He's restoring old Indian classics. He's got Satyajit Ray's Ghatak, they're all being restored because of this one man's effort.

He's doing something incredibly great. Media doesn't know what restoration is, media doesn't know how it matters, media doesn't know what it takes, how it is done in this one place in Italy.

Media doesn't know these things. They'll ask him, 'achha aap restoration kar rahe hain.

..

aap Scorsese se mile?' (laughs). There is a power hierarchy in the industry? Absolutely.

It's always been there, in any industry. It's everywhere.

Yes, but this is seen as a very loosely structured, organic, symbiotic activity..

. Yeah, it is, but the hierarchy, it is in the very nature of our country.

It's like growing up, you know, you talk like that. If your boss' son comes around, he's treated differently.

When a girl is looking for a groom, what matters is whose son it is, what's his surname, which family he belongs to, rather than what does the groom do? It holds true in every walk of our life. Because if we were not like that, we wouldn't have, you know.

..

If you see, every politician's son often ends up taking the same portfolio his father did, in this country. And he becomes eligible simply by being his son.

So that's the country we live in. So why crib if it happens in cinema? Yeah.

Cinema mein it's just more obvious and every day in the papers. But it's in every walk of life.

You go anywhere. So with somebody like you, whose dad is not there to give you a foothold in the industry, how much longer does it take to make your own niche? In today's time, it might not take long if you have talent.

When I came into the industry, your survival depended entirely on what you were doing and what you were achieving. Today, the monies are different, there's a huge amount of money in television, people get employed very easily.

And the hunger dies out easily. We were starving for a long time, hence that passion and the drive was much more.

Today, the drive is immediately controlled with substance. The money flows in very quickly.

..

? Money flows in very quickly, the material satisfaction comes in very fast. So that, hunger is not sustained long enough, that material cannot satisfy it.

You mean they get they get the first BMW and they've arrived..

. They get the first car, the first house, very soon, and then they live for the EMIs.

The EMIs take over their lives. Somehow that sustenance or hunger is not there anymore.

And the passion today, be it cinema, be it anything, is about what one can do with a form, but the fact is, 90% of them actually don't have anything to say. They have already decided the form and they're trying to fit into the context.

Especially television? Especially television. They are thinking from, 'this is an established format, and what do I do within those five different genres, to fit into it.

' You're like, ok, 'I also have a story like this back home, I'll put that story.' But it's essentially the same story.

So people have less to say today. But there is money also available for new ideas.

..

Today the money is available, and today technology has made making a film cheaper. Today, people are making films in 10 lakh, 2 lakh, 5 lakh.

The whole indie movement, which is actually not at the surface right now. People don't know about it right now because none of it has so far broken through.

But there's tons of films being made, at such low costs. One film that broke through in the very small indie festivals was Kshay, which is trying to release on the 15th of June.

But made for 15 lakh, 10 lakh, 20 lakh, very powerful films. People are shooting on small go-pro cameras and everything, with actors who are working for free, with 3g and 4g the short film format, there's a huge movement there.

People are making these incredible short films, which they are watching among themselves, and this whole lot of new generation, college students, who are always on YouTube , are passing those films around. I'm just waiting for it to explode.

It will explode. The moment it becomes, uhh, broadband, free flow broadband to everywhere, it will break through.

Where's the money in it? There is right now no money it. Tomorrow, with broadband, the guy who'll create content will be king.

Abhi unhone piracy band karva diya, now they will slowly start making revenue out of it. Because of piracy they could not add revenue to it.

People will start paying, and they are minuscule amounts. For small amounts, 30 bucks, short films you can watch for 10 rupees, so with that, in volume, there'll be more people downloading it and keeping it in their digital libraries.

It's affordable prices. The price of a small Coke bottle.

Today most of these alcohol brands, and all the brands that are not allowed to advertise, they used music earlier, to advertise themselves - surrogate advertising. Now they're using these short films.

If you see, all of them. You go on the site of any of these alcohol brands, they have these short films, using the brand, and they spread it out.

So there's a different kind of a democracy that will start operating there. But most of the Bollywood industry is not thinking about that.

There's a new audience being formed, which will not want to go to a theatre, and (will) watch the film on their laptop. And world over they have already started catering to that audience.

In India, they have just begun, and people who have begun are these tech savvy guys who've got nothing to do with creativity. Which is why it's not working, because there's a big gap there, a big chasm.

They have created formats, they've created platforms, but they don't know how to access these creative people. You were recently asked that you make very dark cinema, and you replied that when you go international, people tell you that you make very light cinema, and you should go darker! That's a very relative thing na, it's extremely relative.

Because people often ask me, why do you do this kind of work? My thing is aap bahar jao, toh aam baat hai, log realistic cinema banate hain. Ham log itna zyada fantasy world create karte hain, ki uske comparison mein I start to seem like too dark and too real.

But if you actually compare it to too dark and too real, then you'll suddenly find a kind of softness in my films! I even use music..

. There's a frequent argument one hears, which essentially is that without the five song sequences and the whole melodrama, it's not really Indian.

..

this is 'Indian cinema', so why should we ape the West? So the moment you're making a 'realistic movie'..

. .

..

yeah, it becomes aping the West . Matlab, someone tell me, the realistic movie is set in India, it is shot India, it's about India.

How can it be aping the West? Does that argument, that we should actually celebrate our song and dance model of cinema, hold? We should! I'm saying we should. But we should not negate what the other things are.

Today, what Marathi and Tamil cinema have achieved, it is much more than what Bollywood can achieve. There are more Marathi films in a year, that you can talk about, which are represented internationally, than Hindi.

There's a whole new wave in Marathi led by these two boys - Girish Kulkarni, the actor/writer, and Umesh Kulkarni. Mainstream doesn't hear about it.

Marathi people are very proud about it. There's a whole lot of new wave in Tamil.

These Madurai filmmakers..

. my first card in Wasseypur.

..

my film is dedicated to the Madurai triumvirate. People have changed Tamil cinema, worked against the system.

Bala, Amir Sultan, Rasi Kumar, Vetrimaran - who's won the National Award, they've made the most extraordinary films in the last two years, and at the national level people don't even know about it. Kumar Raja, who won the National Award for best debut filmmaker - his film never went outside Tamil Nadu.

These are the people who are changing things, and they're also very cut off. So when international scouts come looking for films from India, they never reach Chennai.

And those guys also don't understand international festivals. How will that change? See, things are changing.

Till now, distributors have had this very interesting formula of discovering which film will work, based on who's in it. That's very easy - film mein Akshay Kumar hai, film ki utni opening lagegi.

So there's a whole lot of journalists and trade people whose survival depends on this system. Now, a Vicky Donor, Paan Singh Tomar works, they suddenly don't know how to do, what to do, because they can't judge a script.

They can't judge a film without knowing who's in it. So they feel threatened, so they have to keep that philosophy sustained.

So they keep sustaining that, and they are supposed to be the experts..

. Ok, so non-star movies working - that will change the equilibrium? Yes.

It'll change the equilibrium. New media houses coming in, new TV channels coming in, they want a voice from the film industry who's an 'expert', so they often get these same people.

So these same people are brought in, and they keep sustaining the philosophy. Koi progress hoga hi nahin.

'Great opening'. Today a common man on the streets talks about 'iss film ki itni opening lagi thi'.

Nobody talks about content any more. A man on the streets knows iss film ne sau karod kamaye, toh film automatically great ho gayi.

So common aadmi jab yeh baat karne lag jata hai, it becomes even more difficult for the other kind of cinema to survive. Whereas in Tamil Nadu, most of the films that have changed things have not had stars, and have been declared hits in the sixth or seventh week.

Marathi cinema does not have a star system. It's only content that sells.

The director has become the star - people start trusting a director, ki iski film aayegi. That is quintessential Hollywood , in a sense.

..

Yeah, quintessential European, Hollywood, everywhere. The director is the man who makes the film.

Usmein the only way you can survive is consistency, and frequency. For me, the only method to survive was ki consistently ek ke baad ek film banate jaao, saal mein ek-do release honi zaroori hai.

If I'm not directing, I should at least be producing a film, so then, I'll be on (less)

..

Dil De Chuke Sanam(HDDCS) and Saawariya were made memorable by her presence on the sets.Everything else will fade.

But my experience of working with Zohraji is timeless, just like the lady herself. And that reminds me ,though me there was a decade-long gap between HDDCS and Saawariya she had not aged one bit in those ten years.

..

not a single extra winkle, not one extra grey hair!!! She is a miracle woman!At 94 when she worked with me in Saawariya Zohraji was still the sprightly gamine with dancing eyes. Her sheer zest for life and her understanding of the movie camera made all of us look like film students in front of her.

..

.I remember when Ranbir Kapoor and I went to pick her at the airport when she arrived to shoot for Saawariya.

She looked at Ranbir and said, 'Do you know I've worked opposite your great-grandfather Prithviraj Kapoor and your grandfather Raj Kapoor? You're the third generation of Kapoors I'm working with.' I don't know how she missed out working with Randhir and Rishi Kapoor.

She had come laden to Mumbai with her pictures with Prithviraj Saab and Raj Saab to prove her point to Ranbir. From the first day she insisted on calling him ' Ranbir Raj.

' They were the two youngest people the sets. I swear I felt old watching Zohraji's energy on the sets of Saawariya.

All of us would be dead tired by evening. But at 6 pm Zohraji would grandly announce, 'Let's have a glass of wine before we got back to work.

' She loved her role because for the first time she played a Catholic character in Saawariya.She got a chance to wear her hair stylishly, put on Western clothes and she specially loved the crimson lipstick.

Once she had those in place she was in full form. Do you remember that scene where she insists on singing an English-language song for Ranbir? The song was her own.

It was something she remembered from the past. And what a memory she has! At 94 she remembered not just all her own dialogues, but every single dialogue of every character in Saawariya and earlier in HDDCS.

In fact I remember when I had picked her up from the airport for the first time she rattled off all her lines and then all the lines of all the other characters and warned me, 'Don't you dare change one line.' On the sets if anyone forgot his or her lines, guess who promptly piped in with the correct lines??!! .

..

Zohraji's exuberance is infectious. The power and the magnetism in her eyes are still with me.

I wanted to work with her for the longest.She had started her career with Uday Shankar's dance troupe and had played a part in Udayji's dance ballet Kalpana.

I worship Uday Shankarji.So for me Zohraji was part of a legacy that I revere beyond the normal.

I wanted her to play Aishwarya Rai's blind old but jovial and zesty grandmother in HDDCS . When Zohraji agreed I was besides myself with joy.

She was 84 at that time. But she brought to the sets the energy level of a 19-year old.

I remember an incident where one of my assistants asked her to look toward the characters and react.She snarled back, 'How can I LOOK at someone when I'm blind?' She remained in character throughout.

That Bhavai song Suno suno that she sings with Aishwarya and the rest of the Gujju family in HDDCS? Zohraji managed it in one take. She's temperamental in a very positive way.

While some actors throw their weight around to feel important, she rages when she sees incompetence, mediocrity or compromise on the sets. At 84 she was such a strong woman that when in a scene she had to playfully pull Salman and Aishwarya's ears their ears went red.

They asked me in a whisper if I could ask Zohraji not to put so much strength into her ear-pulling. But I didn't have the guts to correct her.

No one tells Zohraji what to do.She is a free spirit.

I'd often see her with her grand daughter on the sets. But she didn't need any help.

She did everything on her own. Once she had some female relatives over from Pakistan.

She giggled and laughed and whooped it up like Sonam Kapoor would with her friends..

..

My experience of working with Zohraji in the two films I did with her, would remain with me until I die. She is a miracle woman.

A legend beyond explanation. And look at her range! In HDDCS I put her in a Gujarati Ghagra-choli.

In Saawariya she wore a Catholic dress.She could create her own universe for each character without going into too much background detail.

Yes , I certainly hope to complete a hat-trick of films with Zohra Sehgal by doing one film with her. I suspect she will out-live us all.

" (less)

But as the Bollywood dynamics are changing, the so called clich?s and stereotypes, which we were used to watch, are fading away. The presence of a female antagonist in the Indian cinema had become a must.

From the sexy seductive dance to strutting around in the raunchy clothes, they did it all. The bad girls always made more news than the quintessential Bollywood leading lady.

The on screen vamp has undergone a drastic change, ever since the trend started. But yes, they still retain the same oomph factor, but none have remained constant, like it used to be, may be because of the ?I don't want to be typecast? wave.

Helen carried out the role of the temptress perfectly in the 60's and the 70's. Then of course, there was the iconic Bindu, Kalpana Iyer and Aruna Irani.

The puffed up hair, the cat like eyeliner and in the most cases a lit cancer stick, along with the bright backless blouses and the sexy dresses, it wasn't hard to share a love-hate relationship with these ladies. The influx of the generation next brought along a whole new set of divas, the ?sexy-but-not-so-sexy? were replaced by the Versace wearing minimally clad bad girl, who pretty much did the same thing like her previous counterpart, but most of them faded away, just like their weight (less)

Finally their first movie is slated for release. The storyline from www.

indiafm.com Faced with conflicting cultural values and beliefs of their families, Aryan Khanna (Sarvar Ahuja) and Nandini Iyer (Aditi Sharma) have run away from home.

While on the run, a series of unforeseen circumstances unfold and unknown to them a CD containing proof of relationship between a known politician and infamous terrorist Donga lands up in their Bag. Chased by their parents, cops and terrorists in the jungle of Lal dora; what ensues then is series of adventures and misadventures.

Would their parents overcome animosity for the sake of their children? Would they survive between the crossfire of cops and the terrorist? And most importantly, would the young love survive the reality check of life? Tags: Login or register (less)

Lajmi, the director of Rudaali (1993), whose last film Chingaari, starring Sushmita Sen hit the theatres in 2006, has been struggling for quite some time to put a project together. A source says, "Lajmi called up Deepika's secretary who told her in the first call that Deepika won't do the film since she had no dates.

Lajmi was willing to wait till Deepika had dates but was shocked at her secretary's refusal." Two months after Lajmi spoke to Deepika's secretary, the actress texted her saying that she can't do her film, as she is not free until 2012.

"The message was polite. But Lajmi is wondering why an actress would turn a film down even before speaking to the director," adds the source.

When contacted, Lajmi said, "I was ready to wait till Deepika was free. It is sad that today's heroines are busy only in image-building exercises.

They forget that it is the medium of cinema and nothing else that makes them popular." Though the actress stayed out of this, her manager said, "We would love to work with a senior director like Lajmi but unfortunately, there are only 365 days in a year.

We had committed our dates. Hence we decided to be upfront about it and not keep her hanging.

" (less)

She has been so busy that could no manage to talk to Rudaali fame director Kalpana Lajmi before rejecting her film offer (less)

He was quite confident that the film, which releases worldwide on December 3, would be of great interest to Indians at home and abroad despite the relative obscurity of the featured incident. Ashutosh said, "I want everyone in India, the entire subcontinent to know about this event.

" When asked how he managed to trust his creative instinct again in KHJJS after the debacle of his last Whats Your Rashee, he answered, "I tend to not think about it so much, quite simply, because I would like to believe that I have achieved the target with which I made the movie." He added, "When I see my film Whats Your Rashee? today and still feel the same exuberance after seeing it, I know it's my film, And I know I will feel the same exuberance after five years.

So, for me to translate from a book (Do or Die) to a film (Khelein Hum Jee Jaan Sey) is an engaging process and I was happy with that." "The director or actor are not the only ones responsible for the failure of a film; there are four factors that are responsible to make a film, first comes the producer of the film, followed by the director, then the writer and lastly actors," Ashutosh says.

Taking about his film KHJJS again, he adds "Khelein Hum..

." is both a commercial and an artistic film "as both go hand in hand.

" When asked why Abhishek Bachchan for Surjya Sen's role and Deepika Padukone for Kalpana Dutta's role he replays "Abhishek, Deepika for these decidedly non-glamorous roles because, when I read the book, the image that kept forming in my mind was Abhishek and discovered that the quality of Surjya Sen's character aligned with Abhishek. I had a feel for Deepika.

And an uncanny part is she resembles the photographic evidence about Kalpana Datta." (less)