Posts tagged budget
Prithwish Ganguly | TNN (BOMBAY TIMES; October 18, 2010)
If you must do philanthropy, then do it like Shah Rukh Khan. The Bollywood Badshah recently helped out debutant filmmaker Shailja Gupta by silently funding the entire post-production of her film Walkaway that apparently ran into crores. BT has learned that the director was in dire straits without any money to fund her post-shooting work. Having done a project with Shah Rukh when he was in the US, Shailja decided to ask him for help. What she didn’t expect was SRK would invite her to Mumbai and open the doors of his home production office for free so that she could finish her movie. Shailja stayed in the city for a couple of months, worked inside SRK’s office with full support from the actor’s team. She is now creating waves in America with her debut movie that is set to show at all major film festivals. “I thought my film would never see the light of the day,” said Shailja. “I had no clue how to go about making a film and the budget naturally went out of control. I was devastated thinking that all my hard work was ruined. But then SRK gave me a helping hand.” An official from SRK’s side confirmed this development but the actor, who has never ever spoken about his philanthropic work, remained silent.
Ranbir Kapoor’s four-year stint in a film school in the US broadened his outlook towards cinema and life
It may seem like Ranbir Kapoor has a charmed life, but the young star wasn’t always so self-assured and comfortable in his own skin. He led a sheltered life till he went to a film school in the US at the age of 17, where he had to fend for himself. No mummy, no maids, no support system.
His first taste of independence, though heady, turned out to be a great wake-up call.
With a tinge of nostalgia, Ranbir talks about the carefree days that shaped his understanding of cinema, “Going to a film school in the States was the turning point of my life. I’d led a protected and very comfortable life, even though my parents never spoilt me.
Suddenly, I had a budget I had to worry about, do my own laundry and dishes… Of course, I had my share of fun, but it made me realise the value of money.” Tightening your belt for four years does help build character. He adds, “It makes you appreciate all that life has given you.”
Also since the Kapoor khandaan is famous for its lavish hospitality, the switch from a rich diet loaded with biryani and butter chicken to McDonald’s factory productions must’ve been a shocker for his system. Living abroad also helped him understand his preferences when it came to women. He says, “The experience made me broadminded and accepting. Having said that, I love Indian women and am not attracted to foreigners.”
After the course ended was when he really enrolled in a school of hard knocks. Playing assistant to director Sanjay Leela Bhansali is not a task for the faint-hearted. That the director is a wilful taskmaster with an uncompromising vision is a well established fact in the industry.
Even if it means people working with him go through hell and back, as Ranbir discovered soon enough. He says, “Working with Mr Bhansali hardened me. I was never spared or singled out for attention. But he is so passionate about cinema and the exposure is fantastic. It gives you a certain sense of self-confidence when you’ve survived that.”
Both, the film school and assisting Bhansali, helped sharpen his instincts as far as his film choices go. And the way his career is going, the film course and his assistantship stint have certainly paid off good dividends.
Madhur Bhandarkar on coming a long way from being a video delivery boy, on testing new genres and believing that Kareena will eventually come around to act in Heroine
• Comedy is not your forte. Why are making one, Dil To Bachcha Hai Ji ?
It was not an easy decision to make. While some have been saying that I shouldn’t get into other genres of cinema, others say that it’s time for a change. I have always considered myself as an experimental filmmaker and this is another one of my experiments. Actors who have worked with me will vouch for my sense of humour. More often than not, I have them in splits on my sets. In fact, Tabu (who starred in Chandni Bar) used to always ask me why I hadn’t directed a comedy yet.
• After dropping out from school you even worked as a delivery boy for a video library. Did you ever think that you’ll get this far?
Honestly, no. God has given me more than I asked for. I guess it has been a mixture of hard work and luck. I think I am God’s blessed child. And I am not going to get carried away.
• Your male-oriented films, Traffic Signal and Jail, don’t do particularly well. Dil Toh Bachcha Hai Ji too is male-oriented. Are you nervous?
I am nervous. But that happens with me before the release of any of my films. Think of it, isn’t it early days to say that Madhur Bhandarkar makes only good female-oriented films? I don’t jump into making films just for the heck of it. Recently I had offers to remake some top South films but I didn’t see any creativity in that.
Tell me one good reason why shouldn’t I attempt to make a comedy, or say, even a romcom or a thriller, as long as the characters in my film are well fleshed out? Sooner or later, I’ll touch upon all genres.
• Will you cast Neil Nitin Mukesh (Jail) and Kunal Khemu (Traffic Signal), who seem to have lost the plot?
If I have a script for them, why not? I don’t cast actors as per their market status. Didn’t I cast Samir Soni, Arjan Bajwa and Arbaaz Khan in Fashion despite people’s apprehensions? Again if you see, I have three newcomers in Dil Toh Bachcha Hai Ji : Shruti Haasan, Shazahn Padamsee and Shraddha Das, whose debut films have flopped.
• Perhaps budgetary constraints might have resulted in this benevolence in casting.
Yes, I do make films within a stipulated budget. I never spend too much, I don’t overshoot. My homework is very strong. Even Jail broke even.
• Your next female-oriented film Heroine is stuck. Kareena Kapoor is latkofying you…
Kareena and I have not been in touch. She has been very busy with RA.One and Agent Vinod. But we are going to meet soon.
• She’s ditched you with Page 3 and Fashion as well…
I think Kareena is a remarkable actress with a great screen presence. From the minute I saw her in Refugee, I knew she will go a long way. I think I will be third time lucky. She deserves a lot more from this industry. I believe that Heroine will give that to her, it’s a dream role for any actress.
• What happened to that biopic on Lalit Modi called Commissioner ?
Things didn’t work out. Besides, the Lalit Modi controversy would have been too hot to handle.
• You have always been a ladies’ man. We’re disappointed to not have heard of any link-ups. Have you really changed or are you a smoother operator now?
(Laughs) Today, I am very happy the way I am living my life. Do I really need to answer this question?
• All the more…
Un dino, meri shaadi nahin hui thi. And people just perceived me that way. (laughs again).
Currently designing her outfits in two films, Rascals and Tez, Kangna Ranaut plans to launch her own line of clothes soon
Designers pay heed to this. A film that stars Kangna Ranaut in future may not require your services because the actress has decided to design her own clothes. As of now, Kangna is designing her own clothes in two films that she signed recently. And the actress is likely to launch her own line of clothes after that.
The films in question are David Dhawan’s Rascals (produced by Sanjay Dutt) and Priyadarshan’s Tez (earlier titled Bullet Train and produced by Ratan Jain).
Sources close to Rascals say that some designers, including Anaita Shroff, were shortlisted for the project, but things did not materialise due to budget and date issues. Anaita denies it however and says, “I didn’t sign Rascals.
I had date problems since I’m working at that time on Abbas Mustan’s The Italian Job. There was no question of any budget issues.”
Fair enough. But David Dhawan apparently did tell Kangna that she should take a call on her clothes. Says a source, “Dhawan is quite impressed by Kangna’s sense of dressing. And so is Priyadarshan.” So are we by the way!
Not so long ago, Paris Hilton had asked Kangna to be the face of her fashion brand in Asia. Impressed by Kangna’s refreshing approach to fashion, she had approached her with the request to become the brand ambassador for her line of clothing.
|David Dhawan||Ratan Jain|
So, the candidate is surely more than eligible. As for logistics, a friend of Kangna’s tells Mumbai Mirror, “Fashion designers are given a budget and then they pick up clothes from India and abroad keeping the amount in mind.
Kangna too will adhere to this style of costume design. Besides, she travels a lot on shoots. So, going to places to shop is not a problem.”
Sounds like a fabulous idea.
Meena Iyer (MUMBAI MIRROR; October 03, 2010)
If you join the dots from S Shankar’s first film Gentleman (1993) to his latest Robot (2010) you’ll notice a common thread. For one, he has the finger on the pulse of the mainstream cinegoer. Plus, he knows how to embellish his work with gloss and grandeur at a scale still unimaginable by most filmmakers.
Real Indian palaces, heritage sights, Machu-Pichu, seven wonders of the world…he’s exploited them all long before Bollywood found their address.
But to grant the devil his due - his movies are not just special-effects ridden; there is a definite plot with a message. Also, the budgets get more phenomenal each time.
His first blockbuster Gentleman (1993) (with its iconic Chik paku raile number that introduced the world to Prabhu Deva’s dancing skills) brought a new style of filmmaking but his 90s protagonist is just a different avatar of Bollywood 70s phenomenon - Salim-Javed’s ‘angry young man’.
Quite like Amitabh Bachchan, Shankar’s hero has invariably been taking on the system, film after film. But where he leaves his contemporaries way behind is his technical wizardry. A fact just reiterated by his latest Robot (Endhiran, Tamil).
Comparisons to West
Two days after the release of the Rs 150 crore film, Kollywood’s Shankar is drawing comparisons to none other than James Cameron.
Both are August born; both spare no expense when it comes to their budgets and cinematic vision. And quite like Avatar, the highest worldwide grosser, Robot too has opened to a thunderous start.
The filmmaker himself remains remarkably modest about being “India’s Cameron quotient.” “Stop pulling my leg,’’ he says. “I don’t need any more spotlight on me than that is already there,” he laughs.
But with an enviable track record of seven of the biggest hits in Tamil cinema, Shankar is on the verge of rewriting history with his eight one. Trade sources confirm that Endhiran, has broken the record of the highest box office collections for a Tamil film - the film, they say, will cross the Rs 250 crore mark.
Decoding the director
So what’s Shankar all about? Born in a fairly affluent family in Kumbakonam, Tamil Nadu, he worked as a quality control supervisor till the movie bug bit him. On a telephone call he still introduces himself as, “Hi I’m Shankar, the director,’’ and when you incredulously ask him why he says that, he replies, “my films and I are twins, joined at the hip.’’
But while his on-screen heroes are the robust Robinhood-rascala amalgamation, Shankar himself is the anti-thesis. He’s more like a quiet mouse on set, rather than like a megalomaniac wielding the megaphone. And he lets his ADs have a field day liaising with Bollywood beauties and the crew.
But quiet demeanor apart, with his baseball cap and huge sun-shades, Shankar is the boss. He has worked with the legends of Tamil cinema - Kamal Haasan (Indian) and Rajnikanth (Sivaji-The Boss, Endhiran-Robot) but is neither in awe of his subject nor does he doesn’t brook any interference.
As he says, “Rajnikanth is the ultimate for any film-maker. His demi-God status aside, he’s the most obedient actor I’ve worked with. He doesn’t leave the set once he reports for work…and he still maintains a child-like curiosity about everything related to a film.’’
What makes him work
One of his assistant directors says the secret of his success lies in his engineering background - he goes about fixing each nut and bolt step by step while filmmaking. Robot was originally planned five years ago with Priety Zinta and Kamal Hasan.
The monies didn’t drop at that point. It was then revived with Shah Rukh Khan. Story goes when Shankar went to Orange County (with his wife, son, daughters Aditi and Aishwarya and team of writers) to give SRK a detailed narration, he had every colour scheme, every frame and other minute details worked out. SRK was visibly impressed but the deal fell through and the Rajni came on board.
He is also a tough cookie to please. A stickler for punctuality, years ago, when Manisha Koirala (Indian, Mudalvan) walked in just a few minutes late on a couple of occasions, he had turned shades of purple. And one has seen him lapse into complete silence after he and the Nepali actress had a slight altercation about a scene.
Of course all this doesn’t compromise his work relations. The next morning, he sorted the matter with Manisha and shooting progressed at a brisk pace.
A simple man
In personal life he’s a plain-dresser. Though he arrives in a high-end automobile (he earlier drove a Merc but after his association with SRK, switched to a BMW) he has no shenanigans attached to his name. He’s the kind of guy who has no hesitation to eat food at roadside joints, goes about his work-home-work routine and shuns parties save for the occasional awards function.
But his budgets are the opposite. Ask him about why his budgets always get more prominence than his reviews, and he says, “I don’t know the intention of the press when it highlights the budgets of movies. In my movies the money has always been well-spent. In Robot, the animatronics used is of the same calibre of The Jurassic Park, Terminator and Avatar. And since it was also done at the Stan Winston Studios in the US, the SFX cost huge money. I only put my money where my mouth is. Robot needed high-end technical effects. If Indian cinema had a wider release, then I would have spent at least half of what Avatar did on SFX. However, I’ve always believed in bringing in something new via technology in every film of mine. And it is because of the novelty element that my films have a repeat value.”
“I think it’s wrong to talk about my movie budgets constantly. There is an equal amount of blood and sweat invested in the effort. The film took two years to make and we had a huge foreign crew involved. Every member of my unit and the foreign crew has worked so hard on this film that the money pales in comparison to the effort put in.’’
The journey ahead
Fair enough, but one wonders whether it is personal angst that is responsible for the Robinhood characters he writes. Says Shankar, “I’m a common man. And I’m fully aware of what is happening around me. As a journalist you have a pen that you use to highlight injustice. As a director, I have another medium to do exactly the same.’’
But the films he patronises are vastly different from the ones he makes. A self-confessed Mani Ratnam admirer, the other three films that have left an indelible mark on him are Ashutosh Gowarikar’s Lagaan, Farhan Akhtar’s Dil Chahta Hai and Raj Kumar Hirani’s 3 Idiots. “When I’m in between scripts the only things I make time for are watching movies,” he says.
And though his movies leave gadget freaks gasping, he’s technologically challenged in real life. “All the technology is reserved for my films. I don’t even know what hidden features my cell-phone has,’’ he laughs.
As he gets into his vehicle to visit the local Chennai theatres for reactions, he adds, “People want to know what I’m making next. I usually have some idea stashed away in my head for my next film even before the earlier one has wrapped.
In 17 years I have directed 10 films. I guess I have been prolific. But, this time around I want to wait for the hangover of Robot to subside. What I really need at this point is to splash some water on my face, clear my head and go for a long drive and feel the breeze blow.’’
|(L) A still from Boys (R) Aparichit|
|(L) Sivaji-The boss (R) Robot|
By Joginder Tuteja, September 23, 2010 – 11:10 IST
Neil Nitin Mukesh is spitting venom. Even as he was looking forward to a day of festivity and celebrations yesterday, he woke up to a rude surprise when he read about his ouster from Abbas Mustan’s remake of The Italian Job. A tabloid report suggested that not just had he been thrown out of the film post the ‘failure’ of Lafangey Parindey; he was also blissfully unaware of the ‘fact’ himself.
“Well, looks like some people out there know more about me and my films than myself”, says Neil while trying hard to control his irritation over the matter, “Just because you are not speaking, some people out there build an imaginary tale all by themselves.”
So what’s the real status?
“Arrey issme real ya unreal status ki kya baat hai? It’s sad that I am giving clarification on this when the fact is that I am already preparing for my role. The film is pretty much on and I am also not going anywhere. In fact Abbas-Mustan, who are currently out for location scouting, had given me such a detailed role description before leaving. They should be back in a week’s time and post that there would be a further one month of preparation. We begin shooting early November.”
The Italian Job has been in news for about a year and most of the pain points have been around the casting. The men in white, Abbas-Mustan, were pretty much riding high after the super success of Race. However, bringing The Italian Job has been a challenge due to its requirement of a high profile cast as well as the big budget involved.
“I am sure all the preparation is going to be worth it”, Neil, who plays the character originally enacted by Edward Norton, eases up here, “The film so much belongs to the Abbas-Mustan zone. They are the masters of thrillers and The Italian Job is one kick-ass action-thriller that we all know. I can’t wait to get started.”
Meanwhile, one can’t help but tease him on to comment on the ‘failure’ of Lafangey Parindey, as the report had suggested. After all, the fact remains that not just has the moderately budgeted Lafangey Parindey managed to sail through smoothly theatrically, it has also made profits for everyone involved, what with other revenues (satellite, music, home video, overseas) also being milked to an optimum.
“My only suggestion to those who comment on box office is, don’t get involved when you don’t understand the economics of filmmaking. Yash Raj Films are happy and this is where the buck stops”, is all that Neil is willing to comment here, considering the fact that folks associated with Yash Raj Films are known for keeping mum when it comes to business matters.
Neetu Singh talks about her comeback in the movies, getting slim to inspire her husband to follow suit, and how she’s still best friends with Zeenat, Shabana, Rekha and Hema
• You did a blink-n-miss appearance in Love Aaj Kal. What makes you come back with a full-fledged role in Do Doni Chaar after 30 years?
Kuch decide nahin kiya tha. In fact, I had decided I won’t do it. I have been refusing films for years. The entire credit goes to the director of Do Dooni Chaar, Habib. My husband (Rishi) was very keen that I should hear him out. Habib simply bowled me over with his narration.
• Were you nervous for the first shot?
I won’t lie. I was nervous on the first day. I even spoke to Ranbir about it. This role is so unlike my personality. I love dressing up and here I was playing a middle-class housewife. I was asked to cut my nails, put oil in my hair and have a choti.
Ranbir explained to me that I should go with the director’s conviction and I’ll be fine. All these years I have been telling Ranbir what to do, and here he was advising me. It was such an experience. When Ranbir finally saw the film, he sent me a text message saying that ‘Mom, you are so cute in the film’. But you know what (pauses)
Do Dooni Chaar is not a comeback per se for me. I am not going to start signing up movies left, right and centre. I didn’t decide to take a break. I was working from the age of five till I was 21 years old. I don’t like a very hectic lifestyle. I am a very laidback person.
If in the future there is a film, then it mostly has to be with my family only. I must relate to it. Like I did in Do Dooni Chaar, where I play a middle-class housewife who runs her house within a certain budget.
• How can you relate to that? You married into a very rich khaandan, and had everything at your beck and call.
Yeah. But deep down, I am still a very middle-class housewife. Thanks to my roots. I think twice before I buy something. I bargain. I don’t indulge in wastage, maybe hence I am often fighting with my servants. Riddhima is just like me. She is not a spendthrift. Those values have gone into her and I am very proud of that.
• How have you maintained yourself so well?
I wanted my husband to lose weight. And I started reading and telling him what to eat and what not to eat. But he is so bindaas and happy-go-lucky. I imbibed so much from those readings that I started adopting all the measures. I think I can write a book on ‘How to get slim’. Today, I go to the gym everyday and even do kickboxing. I feel so fit, and that’s so important.
• How much has shooting for a film changed from your times?
Lots. You have vanity vans. I come from the times when we did our own make-up on the roads and changed clothes in somebody’s house. Of course, after requesting the house owner! And then most of the time, there was no dubbing or sync sound. And today, there is so much of preparatory work going on.You have bound scripts, hamare time pe lines were written on tables kept on streets.
• Are you in touch with your contemporaries?
Very much. All the time. I meet with Zeenat, Shabana, Rekha and Hema, we talk for hours. There were no bad vibes in those days. Rekha used to help me do my make-up.
• And today’s heroines can’t stand each other…
I don’t know what’s wrong. It’s pretty strange. I think it’s become too competitive.
• Competition existed even then. Tell us, how did you hold your nerve amidst top stars like Hema, Rekha, Rakhee, Zeenat, Parveen. What was going in your favour?
My age. I was the youngest in that lot. The male actors opposite me were 12-15 years older than me. They all used to mother me. Rishi Kapoor was the only one around who was my age. Dimple was a big star after Bobby, but she got married. And I was the only girl who suited him. There was no choice. I was the only girl who was known, else Rishi would have had only newcomers to work opposite him. Think of it, I think at least 20 girls debuted opposite him in his entire career.
• The average career-span of an actress has reduced from your time. Do current actresses have it in them to sustain longish runs like Hema, Rakhee, Rekha and Zeenat?
Well, Rani has been around for long. Ditto for Kajol. So, I don’t think that’s a problem. Among the newer lot, I think Priyanka Chopra is doing very well for herself and she is going to be around for a very long time.
• You have had your share of ups and downs. In hindsight, how would you rate your 30 years as a housewife?
I see these years as very fulfilling. I have two beautiful kids. I have a very good husband and lovely in-laws.
• No rules laid down by the Kapoors?
People think like that, but that’s not the case. The Kapoor khaandan is very humorous and carefree. It is also wrong to believe that they don’t let their girls work. Like Riddhima herself never wanted to get into movies. On the other hand, Ranbir wanted to be in films ever since he was five.
• Do you get ruffled when so much is written about Ranbir’s work and personal life?
Not really. The media has become very strong. But he is handling everything very well. He is quite intelligent.
• Speaking of media, a story recently reported that your neighbours are unhappy about the renovation of your house. You were making a preview theatre or a studio here.
We are not making a studio or a preview theatre. I am not going to let outsiders into my house. I am not building a theatre per se, which would hold premieres. I see no reason why anybody should object. I am not breaking any BMC rule. It’s just a home theatre we plan to have. And you see, my house has become old, wiring etc has gone awry. Have I no rights to live well?
Post Dabangg’ s success, Sajid Nadiadwala is allegedly asking Eros to shell out Rs 75 crore for Kick, the next Salman-Sonakshi starrer
Last Friday’s blockbuster has certainly changed equations in the industry. Sajid Nadiadwala, who is producing Kick starring Salman and Sonakshi Sinha, has quoted for a gobsmacking Rs 75 crore to Eros if they wish to acquire the film.
Salman’s latest hit Dabangg churned out huge profits for Eros, but at Rs 75 crore for his next, Eros is asking for some extra time to ponder over this.
A source reveals, “After the super-hit Dabangg, Salman and Sonakshi have become the hottest pair in town. Producer Sajid Nadiadwala, who is casting the duo in his next production, Kick, has quoted a huge amount for the film. Eros is very close to Salman and Sajid and have done Salman’s last two films, Veer and Dabangg.
Although Dabangg made big bucks for Eros, Veer was a major dud and the company suffered major losses.
Now, when Kick came on the table for discussion, Nadiadwala quoted a price of Rs 75 crore after considering Salman’s market value post-release of Dabangg. Eros has found the amount too huge, but is still working out the logistics.”
When contacted, an Eros spokesperson said, “We share a very good relationship with Sajid and he has not discussed any amount with us.” Sajid Nadiadwala also said, “I haven’t spoken to them as yet.
We yet have to lock the script and work on our budget.”
But a source close to Eros said that Nadiadwala had indeed demanded Rs 75 crore for Kick. “It is too early to quote a price of Rs 75 crore for Kick now.
The movie will release in the middle of next year or on Eid. One cannot judge from now what will be the market situation then. Salman has been very close to Eros, and one is still considering the amount,” said the source.
The producer had to do away with controversial names and phrases from 332 Mumbai To India, based on the Rahul Raj BEST bus encounter
Sangeeth Sivan’s decision to turn producer with his so-called “realistic” film on the October 2008 Rahul Raj BEST bus encounter, did not go down well with the Censor Board. Sivan’s film 332 Mumbai To India, directed by Mahesh Pande has undergone several editing sessions since members of the Censor Board watched it.
Our source said, “It took over a month for Sivan to get his censor certificate. There were as many as 20 dialogue cuts in the film and although Sivan and his director Mahesh Pande fought hard for every cut, they finally had no option but to beep or mute the names of many prominent people in the film.
These included references to prominent people like Amitabh Bachchan, Ambani’s, MS Dhoni, Sachin Tendulkar and Raj Thackeray.”
Though the above-mentioned names were deleted Sivan and Pande apparently fought hard to retain the names of Dhoni and Tendular. The producer-director duo opted to mute Thackeray’s name but they could not prevent the other cuts from happening.
The chopping has upset Sivan tremendously. Especially, when he was asked to cut out words like ‘bhaiya’ and ‘Marathi’, Sivan feels that the essence of the film is now lost.”
When contacted, a distraught Sivan lamented, “I only feel that there should be a particular guideline for everyone, a set rule, which we all are aware of: that we can’t do this and that certain things will be objected to. Here, what happens is that a few privileged ones get away with everything and that is much more controversial than the content of our film.
My problem is that when we make a commercial film, I would never object to certain cuts but when I’m making a realistic film, then these kinds of verbal cuts affects it. The worst thing is that everyone knows that it is the truth and someone has to take a stand.
However, we are a small film and we neither have the budget nor the power to oppose this and land ourselves in a controversy. So we agreed. But I just wish that someone would take a stand and say that it’s high time we sit and change these age-old rules.”
When contacted Alpana Sharma, Regional Officer of the Censor Board said, “Yes the cuts have been added as there were famous names mentioned in the film in a derogatory manner.”
When the estimated budget for Dibakar Banerjee’s next allegedly went through the roof, Balaji Telefilms backed out of the project
Love Sex Aur Dhokha might have worked wonders for director Dibakar Banerjee and Balaji Telefilms head honcho Ekta Kapoor, but it seems the relationship has now run its course.
We had reported not too long ago, that post the success of LSD, Ekta and Diabkar had teamed up again to work on Dibakar’s next – a political thriller starring Abhay Deol and Emraan Hashmi.
The latest buzz on that is that Ekta is not producing the film anymore; another corporate giant is.
A source close to Ekta says, “Yes, Balaji was supposed to produce Dibakar’s next film but it’s not happening anymore.” Explaining the reason why Balaji backed out of the project at the last moment, the sources adds, “The estimated budget of the film is around 18 crore and post publicity, it adds up to 25 crore. Ekta felt it wasn’t a viable business proposition.”
A close associate of Dibakar’s confirms, “We had a minor discussion with Balaji on this film. We had a great time working with Ekta on LSD and would happily do another project with her. But this one is not happening with them. We have been talking about this project to another corporate house for a long time now and we will make a proper announcement soon.”
While Dibakar Banerjee chose not to comment on the matter, we texted Ekta Kapoor asking her if she is producing his political thriller. She replied, “I was never producing it.”
Talk about miscommunication!