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)

Be it a weekly or a daily soap, the regional flavour is everywhere. But Gujarati shows dominate.

Shows like Saath Nibhana Saathiya , Tarak Mehta Ka Ooltah Chashma and Ram Milaayi Jodi are continuing the trend that started 13 years ago and has seen Gujarati family dramas like Baa Bahoo Aur Baby and Khichdi . Ekta Kapoor's Kyunki Saas Bhi Kabhi Bahu Thi took things a step ahead and was followed by a long list of Gujarati culture-based shows - Sarabhai Vs Sarabhai , Teen Bahuraniyan , Jasuben Jayantilal Joshi Ki Joint Family , Hamari Devrani , Bandini , Mukti Bandhan , Krishnaben Khakhrawala , Gulaal , Papad Pol and Sanskaar Lakshmi .

From showing a typical Gujarati household to their festivals, functions and colourful wardrobe, the shows spread the vibrant colours of the state to the remotest parts of the country. Actor-director Jamnadas Majethia, the man behind Khichdi and Baa Bahoo Aur Baby , said: "I believe out of all, Gujarati and Punjabi cultures are the ones that almost everyone recognises.

"They are very colourful communities with a rich literature and the scope of entertainment is also much more than others. Shows based on these cultures get more TRPs.

So for makers it becomes easier to do a show with a Gujarati or a Punjabi background." Thanks to these shows, popular Gujarati dishes like khakra and thepla have become popular among the masses.

Other regions have also been highlighted. Ekta's long running popular show Kasauti Zindagi Kay and Tere Liye revolved around Bengali families, while Jassi Jaisi Koi Nahin , Geet.

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Hui Sabse Parayi and Preeto were about Punjabi families. If Maryada is set in Haryana, Na Bole Tum Na Maine Kuch Kaha is set in Indore, Madhya Pradesh.

Mann Kee Awaaz Pratigya is based in Uttar Pradesh and Afsar Bitiya is the story of a Bihari girl. For producers, placing a show in a specific region or a culture makes it easier to decide on the sets, costumes and storyline.

"When you give a show an identity like Gujarati, Punjabi or Marwadi, it not only makes the viewers connect with the show but also helps makers in giving a background to the show in terms of costume, jewellery, dialect or characters," said Rajan Shahi, producer of Yeh Rishta Kya Kehlata Hai , the story of a Marwadi family. If people sitting in Bihar or Jharkhand these days know about Gujarati or Marathi culture, it is to a large extent because of these daily shows.

"TV shows based on Gujarati, Marathi or Marwadi cultures have made audiences all over the country aware of the customs and rituals of different regions. The shows have broken barriers and brought people together," Suzana Ghai, creative director, Star India, said.

"If the audiences are from that region, they know about it and watch it with more interest. If they are not, they want to know about different cultures and watch the show.

So both ways, the shows gain popularity," she added. Also makers and writers from different regions are keen to tell stories about their part of the world.

"I am a Gujarati myself and I know the state very well. So it becomes easier to play a Gujarati character or make a Gujarati show.

Also, it's a culture I have in-depth knowledge of," said Majethia. The trend of such shows is here to stay, said Ghai.

"The makers are always in search of new ideas and keep experimenting. So we will see more shows based in Uttar Pradesh or Bihar or other regions," she said.

It's not that generic shows have stopped coming. Bade Acche Lagte Hain and Kuch Toh Log Kahenge are general in approach.

The focus is more on the story instead of the regional background. But I believe this trend will take some time to take over.

Till then regional shows will continue to hog the limelight," Shahi said. Tweet (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.

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'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.

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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.

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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.

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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.

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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.

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? 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.

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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.

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

. .

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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.

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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.

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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)

"We see how people who cannot see, fit themselves so well in the scenario. So, this is a tribute to all the blind.

My role is dedicated to all these people," he added. Directed by Pramod Joshi, Chhodo Kal Ki Baatein is slated for release on April 12.

The actor, who has featured in around 400 films in his three-decade-long career, has no qualms in admitting that he faced hardships during the film's shooting. "Most of the scenes were very difficult.

There were scenes where I had to climb mountains as a blind man, and we have done an entire song that we have shot on a mountain and rivers. It was a little difficult," said Anupam.

The actor was last seen in Desi Boyz , and will soon be seen in Chaar Din Ki Chandni . He is also working on Deepa Mehta's Midnights' Children and on the remake of Chashme Buddoor .

Tweet (less)

This proves that the actor's popularity is growing not only in the domestic but overseas market too. This has worked immensely in Emraan's favour," said the source.

What's more Emraan has an interesting lineup of films. The trade source added, "He is one of the few actors having an interesting line up of films.

Mahesh Bhatt said, "For someone who was declared dead on arrival, the place that he has made today is nothing short of a miracle. Though we were there to guide him, it is ultimately his hard work that has paid the dividends.

That boy fought and struggled and consistently worked onhis limitations too. He corrected himself wherever he needed to.

And the result is there for us to see." Says Emraan, "It feels great! Really worked hard and it was new space for me as an actor.

It was yet another attempt to do something different and I happy being appreciated once again. I think I am getting greedier with the success of every film.

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A unit source associated with the director's production house revealed that the director this time was keen to make a soft romantic film. "Ashutosh Gowariker is ready with the script and prepared to execute his next venture.

In fact he has even given narrations to a few actors the names of which will be disclosed in a short while." The source said that after dabbling with a patriotic theme, a romantic venture topped Ashutosh Gowariker's wish list.

"A contemporary love story has always been on Ashutosh's mind. Ready ith the script now, he has started approaching some of the main lead stars.

The cast will be finalized and the shooting schedules will hit the floor soon," said the source (less)

Speaking on the reduction of the sex content Mr J.P Singh, the CBFC (censorboad of film certifications)'s Regional Officer Mumbai, said, "All the love-making scenes, around 6 of them, were reduced by 50 percent and the film was given an 'A' certificate.

" Surprisingly the hard-hitting dialogues have been left intact. Says Mr Singh, "There was no cutting of the dialogues only visuals.

" While the Hate Story director Vivek Agnihotri said he was unaware of censorial developments as he was getting the prints ready, producer Vikram Bhatt seemed surprisingly gung-ho with the cuts. Said Bhatt, "The censorboard has been great.

They've passed all the dialogues and only got us to cut the excesses in the love-making scenes. I'm extremely pleased with their progressive thinking.

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Both of us had to pay the price for making it possible for the heroines to walk hand in hand with their boyfriends." And Pooja had no qualms in taking the credit for bringing Bollywood lasses to the threshold of being bold in talking relationships in public domain.

She adds with a casual shrug, "We were the first ones to be open about our personal lives we were considered non serious because of this." But it doesn't really come as a surprise, the claim to the credit, when Pooja has never shied away from going bold whether while acting or directing.

Though much in news for " Jism 2 " Pooja dimisses talking about the film with the wave of a hand and says, "I wish to remake "Dil Hai Ki Manta Nahin" with Ranbir Kapoor and Alia (her sister) and recreate the chemistry that I shared with Aamir onscreen. It is one of the top love stories of our industry till date and one of the first road film without the tricks of foreign location," says the actor who was in Varanasi recently.

But in this age of action will romance sell? "What is life without romance? The world revolves around love. If it is not a love story I cannot work on the film.

You cannot put arms around twenty crore of rupees, life is miserable if you don't have someone to share it with. I like working on love stories.

Even "Jism 2" is a love story though an adult one. It does not cater to a teeny bopper's emotions.

When the earlier "Jism" was released people had expected a skin fest but it was the chavvani audience who went away and it was the women above the age of 35 and young couples who made the film a hit. I find it strange that we are catering primarily to an audience of GenNext.

There is nothing for the mature audience in the films today which is rather unfortunate, but I try to focus my films to make them appeal to an emotionally mature audience," she says. Always living on her own rules, Pooja says, "I am at that stage of life when I have nothing to lose and every thing to gain.

I am not afraid of failure since I have failed enough as a director. In fact, the bigger the budget of a film is, the more it operates on fear.

Then you take the artiste jo bikta hai rather than your work from your heart. When I was making "Jism", I wanted to take John Abraham for the film who was just a model then.

I was not ready to compromise on this though lot of people advised me against it. I did not want Shah Rukh Khan for the film.

Now the same people ask me ki 'kya John Abraham nahi hai "Jism 2" mein?' It is the herd mentality that rules the roost in the industry today. The same applies to Sunny Leone.

Everyone waiting to see who would bell the cat and now that we have belled the cat, others too want to do it." (less)

" The star cast of the film is yet to be finalised. "I am planning to direct Milan Talkies.

The crux of the story is that though the communication has become easy thanks to mobile phones and everything, it is still very difficult to fall in love in small towns," Dhulia told PTI. The 45-year-old director says he is attracted to small cities but feels they are disappearing very fast.

"I will continue to base my stories in small towns till they remain small. So few of them are left now.

Where is the conflict in love in a big city like Mumbai? Love is still difficult for those living in small cities." Dhulia, who is also planning a sequel to Saheb Biwi Aur Gangster with Irrfan, says he is naturally attracted to subjects which relate to society.

"I come from Allahabad where people are politically more conscious. I try to make films that are part of the society, because I want people to relate with my stories.

" The director's debut Haasil revolved around the student politics in Allahabad and Sahib, Biwi Aur Gangster dealt with the decay in the system through a modern take on Guru Dutt's classic Saheb Biwi aur Ghulam . Dhulia's most recent release, starring Irrfan, is about the tragic transformation of an award-winning athlete into a notorious dacoit.

Irrfan, his senior at National School of Drama (NSD), was the natural choice for the role of a sportsman turned rebel in the "Irrfan is a great actor and we share a special bond. We have been together since 1986.

If I could help it, I would cast him in every film that I make. We worked together in Haasil and in Charas .

I had also planned another film but it did not work out. Finally, Pan Singh Tomar happened.

" Dhulia decided to make a biopic on Pan Singh while working on Shekhar Kapur's Bandit Queen but it took him a while to realise his dream project. "We shot the film around Dhaulpur.

It was relatively more accessible than other areas. We faced some difficulties.

Irrfan had a fracture while doing a scene and the shooting was delayed for few months but otherwise it was fun. Chambal was very exciting and fearsome.

" Dhulia trained to become an actor in NSD but he realised very early that acting was not his cup of tea. "I was a very bad actor.

I remember that they cast me in a play as a lead in NSD. Lot of money was spent on it but it flopped.

I was very disappointed because I loved movies. When I look back, I think it was a good decision that I did not try to become an actor.

" Ask him about playing the villain in Anurag Kashyap's Gangs of Wasseypur , Dhulia says he did it for his friend. "Anurag is a friend so there was no pressure on me.

It was an one off thing." Tweet (less)