मुंबई: आईएएनएस एक्सक्लूसिव इंटरव्यू में एक्टर अनुपम खेर और एक्ट्रेस नीना गुप्ता ने अनुराग बसु के साथ काम करने के एक्सपीरियंस को शेयर किया। अनुराग बसु की फिल्मों की अनोखी स्टोरी और गाने के बारें में बात की। उन्होंने सेट पर अपने एक्सपीरियंस और बाकी प्रोजेक्ट्स की यादें ताज़ा कीं। वहीं, दोनों एक्टर ने अनुराग बसु के निर्देशन में काम करने को एप्रिशिएट किया और अपने नए एक्सपीरियंस को बताया। उनकी बातचीत से पता चलता है कि फिल्म बनाने में साथ मिलकर काम करना कितना जरूरी है। अनुपम खेर और नीना गुप्ता के एक्सपीरियंस बताता हैं कि अनुराग बसु का निर्देशन कितना खास है।
00:00To be very perceptive and instinctive when it comes to shooting his stories, you know, discussing it with his actors, for you, working with him in such a set up, hyperlink format, what was the experience like for both of you and what was the day to day unfolding on the set as the move went forward?
00:15It was very interesting because Anurag has this whole script in his head. And the best part of working with him is that he improvises on the spot. So, while he's given us, we were given the lines and we remembered them and then we are saying, and suddenly he says, Nina, this is a great idea.
00:45You know, it's like that. I'm giving you an example. So, my dream come true when he called me. I don't want to listen or do anything. I will work with you. It's like that. So, it was, it's great fun working with him also.
01:01I was used to working in films without the script, but working with Anurag was special because he knew what he was doing.
01:11And I think also he's very loving towards his cast. He gives you a very, actors are very vulnerable when they are on the set. Because they are emoting the deepest, darkest emotions. And so, they need to be protected. So, he gives you a feeling that he is protecting you and he is not exposing you.
01:33So, you want to give your best to a person like him and a director like him. And also, his shooting atmosphere is very relaxed.
01:40So, I think that takes away the stress of, oh my God, I have, I'm at this atmosphere which is fake. So, I think that adds to it. And human relationship
01:56we are doing that. So, it's a, it's a joy to explore a film like this. It's not a heroine-ka-father-ka-roll.
02:12Yeah, yeah, yeah, true, true. It's a lead role which, and the story has its own dimensions.
02:19Okay. And Anurag Basu is known for his musical bent of mind. He's one of the rare filmmakers in our industry.
02:26Who is very one point with his music. Gangster, like, you know, Metro, Kites, Barfi, Jaga Jazoos, blockbuster, chartbuster music.
02:33Does that also trickle down into the day-to-day unfolding on the set? And if yes, how does that make the job actor easier or more?
02:40So, again, the music is only with him. And between him and Preetham. He has a feeling. We had a song together which was not complete when we were shooting for it.
02:53And, but when I saw the dubbing, in the dubbing, when I saw that song, it was magical. I think that song will be released which features me and Nina both.
03:07It's fantastic. And as you, you've heard of all the films, I think that the music is great.
03:16He has a great ear for music. And it is dignified music also and popular music also. It's a mixture of that. It's not only the popular music.
03:28And for the first time, I did a song in the film, which is a prose song. And it was such a prose. I had to keep it.
03:42I had to keep it. I had to keep it. I had to keep it. I had to keep it in the dubbing. I had to keep it in the dubbing. I thought, it works.
04:01It's magical. It's magical. And also, magical. That's why you don't expect the age group that we are portraying in the film.
04:10Yeah.
04:11In this age group, there is a magical song. And I assure you that the audience of our age group, they will remember that.
04:19It's a song of the college union. And in the college union, they are singing about their situation.
04:28Yeah.
04:29Yeah.
04:30Okay. And I was speaking to Ali a few days back. He feels little things into the brain or the mind of an actor.
04:39And then he will leave it. I won't tell you what is to be done. You decide on yourself and then you come and deliver whatever and however you feel like.
04:46Was the process the same with both of you or some other approach he had?
04:51No, I think he trusted his actors as far as we are concerned.
04:54Yeah.
04:55So, he was not spoon feeding. He knows that we have taught him and he felt that I am a new person.
05:01He also came to the center of the room.
05:02Yes, in the center of the room.
05:03Yes, in the center of the room.
05:04So, he said, I think he felt like this.
05:06Or he acted like that I have come and I have come.
05:09So, we were so happy.
05:10One time in the shooting, we called him on the set.
05:15And he said, now, go back to the van. It's time for a while.
05:20So, I saw my dad shooting in a hall. He went in a corner and he sat there somewhere.
05:32So, I asked, I said, what happened to my dad? He said, he wants to think.
05:37Yeah.
05:38So, suddenly, he wanted to think about something, to add or minus or whatever.
05:45And it shows in the film.
05:46Yeah, like that.
05:48I said, okay.
05:49Okay.
05:50And in the trailer, I saw three of you guys in the same story format.
05:54You are there, you are there and Shashwar sir is there.
05:57Three titans of our cinema.
05:59I am sure there would be some, you know, dialogue and dialogue exchange between the three of you.
06:04What was the jamming pre-scene like before you went for the take?
06:08What was the discussion?
06:09We don't want to describe what was the jamming because that will give away the relationship of ours.
06:16Yeah.
06:17Yeah.
06:18Okay.
06:19And given your monumental experience, both of yours, I am sure it must be very easy to not let the characters
06:32weight heavy on you.
06:33I am sure those characters are heavy on you.
06:35What would be your suggestion for the younger prop of actors or who are still, you know,
06:41they are still in the learning process.
06:43What would you tell them to, you know, first not judge their characters and then take it,
06:48take their characters with a pinch of salt and not let them work hard?
06:52I will say don't take yourself so seriously.
06:54So seriously, yeah.
06:55Yeah.
06:56Yeah.
06:57Just work hard and just do your job.
06:59Do your job.
07:00Yeah.
07:01Yeah.
07:02And trust the director.
07:08If he is worth it.
07:09If he is worth it.
07:10That you will come to know.
07:11But that is why you need to experience it.
07:12Yeah.
07:13For that.
07:14And I remember one of my favourite films is Jaanavi Joer.
07:15Sir, I think I have a voice in the film.
07:16I cut together.
07:17No, I cut together.
07:18I cut together.
07:19I cut together.
07:20I cut together.
07:21I cut together.
07:22I cut together.
07:23I cut together.
07:24I cut together.
07:25I cut together.
07:26I cut together.
07:27You are the lead actress.
07:28No, I cut together with Raviv Aswani.
07:29It was a track.
07:30It was a major track.
07:31It was a rehearsal.
07:32It was a major track.
07:33It was a major track.
07:34So the film was a very long track.
07:56He was a killer who would kill people in dance and shoot him.
08:01So I met Dr. Agarwal in the clinic and said,
08:04Hey, how are you? I've cut both scenes.
08:07I wanted to kill him.
08:10And personally kill him.
08:12He was so casual, but he was very long.
08:14Kundan Shah was like that only.
08:16It's a matter of fact, straight and professional.
08:20Yeah.
08:21You work with him and what to say?
08:23Yes, of course. I enjoyed working.
08:25I have read the script of Dhanavid Yaro too.
08:29Really?
08:30I have read the script.
08:32Very long script again.
08:34So I was playing almost Bhakti's role.
08:36And the producer's phone also came.
08:39I forgot his name.
08:41And it was almost like this.
08:43And then I don't know what it was.
08:45It wasn't.
08:46It wasn't.
08:47I think whatever thing is very good,
08:50it doesn't make it again.
08:52It should be classic.
08:54And it's that one film,
08:56which has a lot of great stars and fine artists.
08:59Vidhu Vinod Chopra was in the production,
09:00if I'm not wrong.
09:01If you could share both of your experience.
09:03Because you shot the film also.
09:05So if you could share.
09:06Why you can't share it with your friends?
09:08You're not sure you're doing it.
09:09You're not sure you're doing it.
09:10You're not sure you're doing it.
09:11You're not sure you're doing it.
09:12You're not sure you're doing it.
09:13You're not sure you're doing it.
09:14Lots of characters create characters in the story.
09:16I'm sure Dhanavid has not known which character.
09:18The backstory of her backstory is what is coming from her.
09:20When you shoot it for the climax,
09:23all characters come from the end.
09:25No, we do not.
09:26We don't know anything.
09:27We don't know anything about what happened in the picture.
09:29We just know what happened to them.
09:30I don't know what happened to her.
09:31Meena and my daughter-in-law,
09:34I haven't done any work with her.
09:36I've done it.
09:37One or two scenes with the rest of the people,
09:39it's very little.
09:41They're going to get out of the party.
09:43So how do you find the temptation to just focus on what's there on your plate
09:48and not worry about the whole narrative?
09:51After 40 years, that temptation goes on.
09:53You're going to get out of your work.
09:55I was so proud that I got this work,
09:58but I didn't know anything about it.
10:00What is it?
10:02They're not in our age.
10:04If there's someone in our age,
10:06we're going to get out of it.
10:08We're going to get out of it.
10:10We're going to get out of it.
10:11But they're going to get out of it.
10:12They're going to get out of it.
10:13They're going to get out of it.
10:14They're going to get out of it.
10:15They're going to get out of it.
10:16Yes.
10:17Because we've done it in Tukde Tukde,
10:19in Chandi,
10:20in Calcutta,
10:21in Calcutta,
10:22in the other places.
10:23So when I was going to get out of it,
10:24I thought,
10:25hey, Bapa Sahib,
10:26I thought,
10:27Musawa,
10:28my role is a great role.
10:29I thought it was a big role.
10:31I thought it was a big role.
10:32So I was very excited.
10:33I hope that this was going to happen.
10:35And your story is set in Polkata,
10:37which is from the Aerotaxi area.
10:39Yes.
10:40And the architecture and everything.
10:41Dada hails from Bengal,
10:42culturally.
10:43Shooting with him in Taj City,
10:45he knows the every Nuban corner.
10:47Also, Kolkata is some of the best food in the country.
10:49I was very happy to shoot in the coffee shop.
10:52The legendary coffee shop of Kolgata.
10:55I was very happy.
10:57I was very happy to shoot on the streets.
11:00And in that…
11:02Scooter.
11:03Scooter that we did that.
11:04Very good.
11:05I think experience of working with one person
11:08does not necessarily is only with a place.
11:11I think it's the whole…
11:12We did most of the shooting in Chandi,
11:14Chandi Mili Studios.
11:15Excuse me.
11:16Chandi Mili Studios,
11:17I haven't been in the past 20 years.
11:19My dad took it there.
11:21Our shooting was in the house.
11:23What was it?
11:24It was in Naya Gaon.
11:25The guy did I leave two days.
11:26I was leaving in the house.
11:27They left two days after that.
11:28So, I would leave the house in Naya Gaon.
11:29I've got to do project in Naya Gaon.
11:31Yeah.
11:32I was going to move.
11:33When I was coming,
11:34and I was marking for two years,
11:35I was growing.
11:36That was a disaster.
11:37So, my dad told me,
11:39And for my last question, sir, for you I spoke with Vineh Patip sir a few days ago and you suggested Kashmir using plays to him while shooting for Hushlala Hushlala.
12:01Yes.
12:02If you could tell us a little bit more about that because he didn't tell me.
12:05No, so my chaachi makes the, my chaachi cooked food to I had to give him food and then he had to eat the Kashmiri food.
12:16So I think I introduced and I was very happy because he thought what would happen.
12:22But I read a lot about recently Vineh Patip spoke about that.
12:28Yeah, it was just somebody introducing me to Japanese food a long time back.
12:33The richness of Kashmiri food is that there is no tomato, no piaz and no adrag in it.
12:39No, no piaz tomato, no piaz and no lason in it.
12:43And yet it is the tastiest cuisine.
12:46But that way India is a very rich country.
12:48So I think I have to speak with you.
12:49Oh, yeah, yeah, yeah, yeah.
12:50That's a good food in the future.
12:51Yeah, one of the best foods in the future.
12:52I have a new food.
12:53Gujarati, Marathi, food, food, food, and other foods.
12:56Now you don't have to say anything.
12:57So don't talk about eating.
12:58Namaskar.
12:59You talk about the violence, we both feel very good.
