Posts tagged voiceover
Post Game which director Abhinay Deo lost to the Box Office after its release last week, he has woken up to targeting and promoting his next, Delhi Belly, well in the market.
An Aamir Khan production, with Imran Khan in the lead, releasing on July 1st, the film is undergoing post-production polishing-up.
Youth being the primary movers and shakers of the film and now with F.A.L.T.U doing unexpectedly well at the BO, Aamir has invited music wiz-kid Ram Sampath to give a youthful sound to the film.
Apparently, after the frosty response to Game, Aamir had an emergency meeting with the film’s team to figure out how the product can be targeted at the youth.
A source says, “Aamir is looking at marketing Delhi Belly in the same vein as Jaane Tu…Ya Jaane Na. Imran will be traveling widely to promote Delhi Belly.
Ram Sampath will compose a background score that will grab the attention of the below-20 market through the iPod.”
Choosing not to weep over his loss in the Game that he played last week and concentrating more on Delhi Belly, Deo says, “Delhi Belly is youth-driven.Abhinay Deo
I was ecstatic when Aamir agreed to my suggestion that Mr Bachchan does the voiceover for the first theatrical trailer.
Mr Bachchan too immediately agreed. I think his voiceover in Lagaan was lucky for the film. I’m sure it will prove lucky for Delhi Belly too.”
By Subhash K. Jha, January 28, 2011 – 10:12 IST
The multi-talented Paresh Rawal has provided only his voice to Madhur Bhandarkar’s Dil Toh Baccha Hai Ji.
Says Madhur, “I suddenly realized I needed someone to play the sutradhar, to bring the characters and story together. And I wanted a voiceover that is new to the audiences’ ears. I thought of Pareshji. Ironically, we have worked only once together as director and actor in Aan, a film that I am not too proud of.”
Paresh’s voice is a last-minute addition to Dil To Baccha Hai Ji. It was felt that the characters and their motivations needed some amount of explanation. Madhur rushed to Paresh who sportingly agreed.
Says the actor, “We all need to do these things once in a while. When Madhur asked me I readily agreed. He is not only a fine filmmaker but a good human being as well.”
Like his peer and illustrious senior Naseeruddin Shah, Paresh Rawal has seriously cut down on the quantity of his work, to concentrate on theatre in 2011.
Says Paresh, “I’m not very happy with the quality of roles being offered to me. So I am focusing on theatre. I am doing a satire on insurance companies called ‘Kishen Aur Kanhaiya’. As far as films are concerned I’ve only one release this year, Anees Bazmee’s Ready.”
Paresh is disillusioned by the way his more meritorious films are being marketed these days. “I did a really good film Road To Sangam last year. The producer was new and my efforts went to waste. I am now looking at good More >
By Taran Adarsh, January 14, 2011 – 08:27 IST
In the 1970s and 1980s, Bollywood churned out hardcore masala films by the dozens. Those films appealed to the ‘Balcony Class’ as well as the ‘Stall Audience’ [terminology used for dissecting the audience then]. Even today, films like SHOLAY, AMAR AKBAR ANTHONY, NAMAK HALAAL, DON, ROTI KAPADA AUR MAKAAN, DHARAM-VEER, MUQADDAR KA SIKANDAR et al, the most popular films of that era, appeal to the guy riding an auto rickshaw as well as the CEO of a multinational company. Masala films, in my opinion, can never go out of vogue. The gargantuan success of films like DABANGG and GOLMAAL 3 last year endorses this viewpoint.
The reason why masala films tick to this date is because they have the power to entertain. I’ve often heard my non-film friends comment that cinema, for them, symbolizes an outing with their family. They want to be transported to a world of make-believe in those 3 hours and forget their worries/sorrows/trials/tribulations in the process. YAMLA PAGLA DEEWANA does that and does so most convincingly.BY BOLLYWOOD HUNGAMA.COM
YAMLA PAGLA DEEWANA is a tribute to the cinema of yore. Every rule in the book that made hardcore commercial films major money spinners then have been read minutely and integrated in the plotline of this one. Generally, movie makers often claim that their film is hatke, that it boasts of stuff that the viewer hasn’t watched on screen before, but YAMLA PAGLA DEEWANA makes no More >
By Joginder Tuteja, October 29, 2010 – 11:33 IST
Decades ago, Manmohan Desai is said to have quoted that for a commercial masala flick to work, there should be at least one highlight on screen every 10 minutes. Given the fact that movies in that era were 3 hours long, it comes to around 20 highlight sequences in the entire run of the film. Circa 2010 and Farah Khan is pretty much following the same adage with Tees Maar Khan which releases this Christmas.
No wonder, Farah doesn’t mind getting more ‘highlight sequences’ in the film that fetch headlines before the theatrical release itself.
“What could be the other way to describe the coming in of Anil Kapoor and Twinkle Khanna in Tees Maar Khan“, questions an observer, “The very fact that Akshay Kumar and Twinkle Khanna are sharing the stage again after years was enough for media and audience to go into frenzy. The sequence may last just for a minute but the fact that we are talking about it makes it highlight worthy.”
“Also, the pulling in of Anil Kapoor for an award ceremony sequence was a master stroke”, he continues, “Audience still relate to him as the Slumdog Millionaire star and since he doesn’t mind taking a dig at himself, his appearance in the sequence doesn’t appear misplaced at all.”
Other than Anil Kapoor and Twinkle Khanna, now Farah has also roped in Sanjay Dutt to do a special voiceover for Tees Maar Khan. And the master stroke comes in the form of Salman Khan’s entry into the film’s narrative with More >
By Subhash K. Jha, August 28, 2010 – 10:58 IST
Shah Rukh Khan has decided he will be part of every Karan Johar production in some capacity or the other. In I Hate LUV Storys, Shah Rukh did a small voiceover. Unfortunately, he couldn’t be accommodated anywhere in We Are Family although SRK was quite adamant to feature somehow.
“Ek photo hi daal do kisi shot mein,” he kept urging Karan.
Not one to give up even when his wish has gone way past its fulfilment phase, SRK barged in sportingly at a media meet with Kareena Kapoor and Arjun Rampal and insisted on conducting an interview with the pair…
“Just as a good luck charm,” as SRK put it.
On Wednesday afternoon SRK just decided to drop in at the venue of the interview and said, “Even I am part of the family. So I’m joining them to promote the film.”
Director Siddharth Malhotra can’t get over the magic of the moment. “It is such gestures that make Shah Rukh who he is. It is his ability to make people feel special that makes him the superstar and the King.”
Siddharth had entered the media meet when he saw an exceptional bustle at the venue. He jokingly asked what the clamour was about.
“SRK aa gaya kya? I asked sarcastically. Imagine my surprise when someone turned around and said that’s precisely what has happened and that SRK was doing an interview with Kareena and Arjun for my film.”
One now hears that SRK will make his presence felt in all of Karan Johar’s films on one way or another.
Says Karan, “Shah Rukh is just More >
With security at an all time high after two bomb scares, the Kites team is keeping its fingers crossed for the premiere at Times Square in New York
By Subhash K Jha (MUMBAI MIRROR; May 10, 2010)
// // // The English version of Kites will now see some radical changes. The chase sequence that forms the climax has been made longer for the foreign audience, while for some crucial flashback sequences, Hrithik Roshan has done some voiceovers to explain the Indian context to foreigners.
At another level, some more possible changes could be on the anvil, but of the worrying kind. With two bomb scares at New York’s Times Square within a week, what happens to the proposed grand premiere of Kites at the AMC Theatres Empire multiplex at Times Square?
Though the Kites team maintains that the premiere will go ahead as scheduled on May 16, reports indicate that security in and around the area has become exceptionally heavy.
“We’re regularly monitoring the situation there. Things seem to be getting back to normal. We’ll of course have very a lot of security,” said Sanjeev Lamba of Reliance Big Picture, the international distributors of Kites.
But how successful can a premiere possibly be when it is held under the blanket of such security?
Even if the New York premiere does happen, producer Rakesh Roshan, his son Hrithik, leading lady Barbara Mori, director Anurag Basu and Rush Hour director Brett Ratner (who re-edited the English version), will be watching More >
SUBHASH K JHA (Mid-Day; November 6, 2009)
Prakash Jha has finally relented to Nana Patekar’s pleas begging forgiveness and has decided to forgive, if not forget Nana’s behaviour.
“It’s impossible to forget what he did. But Nana has been constantly trying to reach out since the ugly incident. I’ve told him I’ll have a cup of tea with him when I return to Mumbai tomorrow. Today is my last day of Rajneeti.” Prakash said from Bhopal on Wednesday afternoon.
Will dub, won’t shoot In fact, Prakash had decided to not allow Nana to dub his lines. “Now I’ll let him dub. But there’s no question of shooting the scenes that he lost out on.”
Earlier Prakash was unrelenting. “I know I said there was no question of a rapprochement. Nana Patekar was a closed chapter for me. My entire crew tolerated him because of me. But he’s lonely and he accepts his mistake. I can’t sit in judgment on him.”
The director has already changed the script to make do without Nana and has added a voiceover, ” I had to shoot six to seven scenes of Nana as a young man. I changed the scene and shot it without him. When I had worked with Nana in Apaharan, I hadn’t seen this tantrum-throwing side of him on the sets.”
Had no choice After his initial outburst, Nana tried to make amends. Recalls Prakash, “Later that day, he calmed down and tried to return to the sets. I told him he wasn’t welcome ever on my sets. As far as shooting goes, we had to compromise. We had to complete all his scenes without him. We More >