Mumbai: During an exclusive interview, filmmaker Priyadarshan and actors Akshay Kumar and Rajpal Yadav reflected on their 25-year-long collaboration, which began with 'Hera Pheri'. They credited mutual trust, creative freedom, and strong storytelling as the foundation of their enduring partnership. Discussing their upcoming film 'Bhoot Bangla', they revealed how the script has evolved to balance comedy, horror, and logic, emphasizing that today’s audiences expect sensible narratives and cannot be easily fooled. Rajpal Yadav highlighted his faith in Priyadarshan’s direction, while Akshay Kumar shared insights into choosing unconventional roles early in his career. The trio also addressed the divided public opinion around 'Dhurandhar'. Concluding the conversation, they spoke about global concerns like the Iran–Israel conflict, acknowledging its economic impact and expressing hope for peace.
#Priyadarshan #AkshayKumar #RajpalYadav #filmmaker #upcomingfilm #BhootBangla #exclusiveinterview #challenges #comedy #horror #languageconfidence #IranIsraelwar #Dhurandhar #Trending #BollywoodNews #BollywoodGossips #BollywoodUpdates #BollywoodNews #Bollywood #Bollywoodcelebrity #BollywoodHindiNews #ians
#Priyadarshan #AkshayKumar #RajpalYadav #filmmaker #upcomingfilm #BhootBangla #exclusiveinterview #challenges #comedy #horror #languageconfidence #IranIsraelwar #Dhurandhar #Trending #BollywoodNews #BollywoodGossips #BollywoodUpdates #BollywoodNews #Bollywood #Bollywoodcelebrity #BollywoodHindiNews #ians
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FunTranscript
00:00Welcome to NSF.
00:01Thank you very much.
00:03I'll start with one very,
00:06one question that I always think about that,
00:09you both are natural parameters.
00:11You work more than 25 years,
00:15but how exactly did it start?
00:17When it was the first film,
00:19then how did it start?
00:21I've had, when I was flying to Hara Ferry,
00:27I went, I had a...
00:29Do you know, remember where the meeting was?
00:31I'll tell you.
00:33No, no, no.
00:34And you took me in a car.
00:36You and I had the first meeting,
00:38I'll tell you where, sir.
00:43B.R. Chopra's Dubbing Theatre.
00:47Okay, maybe I do know.
00:48Yes, I'm telling you.
00:49I remember, I was dubbing,
00:51and that time you came,
00:52and you told me the whole little bit of this thing.
00:56Yeah, then...
00:57And then I told you,
00:58can I do the other role?
00:59No, this has happened.
01:00You took me in a car.
01:01You were driving me around.
01:03Okay.
01:03And I was, I was telling that,
01:06okay, this is the role.
01:07I wanted him to play it.
01:09So, natural concept,
01:11hero, heroine,
01:12the whole thing I narrated,
01:14he said, I don't want that.
01:16I will play the other role.
01:18The guy without the heroine?
01:20Yeah.
01:20Actually, he wanted me to play Shams role.
01:22Yeah.
01:23Because I...
01:23So, because us mein heroine ti,
01:25yeh tha, sab kuch tha.
01:26So, suddenly he said,
01:28no, I don't want to do this role.
01:29Let Sunil be the heroine.
01:31I'll play that role.
01:32I'll play the second fiddle to him.
01:34So, I played Raju ka role.
01:37Yeah.
01:37Do you know?
01:37Ha, ha, ha.
01:38That's the first one.
01:39This is the second one.
01:39Yes.
01:39Yes.
01:39Yes.
01:39Yes.
01:40Yes.
01:40Yes.
01:40Yes.
01:40Yes.
01:42Yes.
01:42Yes.
01:43Yes.
02:12You were like ladies man and you were rolling.
02:14You were like, can I try this role? So, I requested it.
02:17Actually, he behaved as himself in the role.
02:25Your comments are this, sir.
02:27Comment? If he said it, okay. So, it's very natural it comes out like that.
02:33Rajpal sir, you saw a interview in which you said, you know, it doesn't matter for you if the role
02:40is smaller or bigger.
02:41But there are some directors with whom you can collaborate.
02:48So, what exactly is the foundation of that relationship?
02:51First time we met in the set.
02:57Mishra ji and Bachchan sahab, sir, I met sir.
03:01Very disciplined. Just one promo for the set.
03:08Then, second time, I met sir to Chendai for Hangama.
03:15And come Rajpal.
03:17Main aya bort achche se. Mera sir phad diya.
03:21He said, dear.
03:23And whatever happening here, don't worry, don't bother.
03:30Just, you play like, you just took one wonderful bicket.
03:35That was my first beginning to say.
03:42I asked sir.
03:42I asked sir, how cast you?
03:45I mean, how did you cast me?
03:47So, only I saw your chandani bar.
03:51No, I saw jungle.
03:53Jungle, then chandani bar, this tabuji is the same one.
03:57And after Hangama that first day, till 2026,
04:02Now, I have never told a story.
04:05Now, I have never told a story.
04:07From that day, today, when the book is published.
04:12I don't know the story of my history.
04:15You can call a bird again.
04:18Yes, yes, yes, yes.
04:21A bird again.
04:22I met a bird again.
04:23You will marry me.
04:24The sequins did not come together with such a sequence
04:30but when the whole day the action was done.
04:33And then, even now,
04:37you want to do the same thing,
04:39or do the same thing, or do the same thing,
04:40or do the same thing,
04:41or do the same thing,
04:41or do the same thing.
04:49I think it's only the boss is the boss.
04:53But I have never asked any story or anything, even in the future,
04:59I will be there. That's a trust only.
05:04Sir, we were with Aika ma'am a few weeks back,
05:07and she told us that when her script was released,
05:13she spoke to you that she wants to be a Russian director.
05:17Then she also told us that there were few changes made in the script.
05:23Was it in the story or just simple changes in the plot?
05:27No, no, no. Basically the plot was interesting.
05:30What I did is I was very particular.
05:33There should be some logic to that.
05:36So we just added logic because you can't fool the audience.
05:41When they are watching, there should be some kind of logic we should put into that.
05:45So we have changed few characters here and there,
05:49and created one flashback with, I should not say it's a flashback.
05:55Yeah.
05:57It's a, we added a character of tabu into it.
06:01Okay. So this much we changed and put,
06:04see I tell you basically people who come now,
06:08you know, we believe in a lot of folklore, mythology.
06:12We believe in superstitions.
06:14We, it's a part of our culture in India.
06:16So those things we brought in and say that,
06:19so that there is a logical support to the film.
06:22Okay. Why this happened?
06:24Who is Vadasur?
06:25Who is, why Arakshas?
06:28How did he came?
06:30How did he become a demon?
06:32And what is his intention?
06:33How this could happen?
06:35So basically the film is a fantasy.
06:37But even though it's a fantasy,
06:38logic is very important.
06:40So that's the only thing I changed.
06:42so just as tried,
06:43How any fantasy has to be
06:45It is?
06:46Because they should be!
06:47How do we have reasons why a god is artificial?
07:07Yes.
07:08I think that the movie is the only thing I do.
07:12There is a sequence of where the professor is giving a lecture in Sydney's seminar where he is talking about
07:20what is happening in Bible, tele-transportation. Same thing we have it here that we also believe that one can
07:27send his soul into another person's body.
07:29So these things are mentioned like quantum physics, all those things I just mentioned it so that it could happen.
07:40It is not that it can happen, it could.
07:43There is a very important line that you spoke while answering this that you cannot fool the audience.
07:48And I think after the advent of social media this has happened that there is a lot of criticism that
07:54the audience is dissecting and cheering.
07:59There is a trend that has become a trend that is why directors, filmmakers and big actors are very particular
08:09about all these small peak detailing or detailing that happens in the films.
08:14That the audience is convincing especially after, you know, Dhurandar tour, which we have also seen in social media reaction
08:20and the term used peak detailing.
08:23So the term used peak detailing.
08:25The people who liked it, they were writing that peak detailing in the film peak detailing.
08:30So what filmmakers and big stars, these things are more particular about detailing?
08:37Yes, see, look, that detailing is starting from the writer, the director goes to the director, the director goes to
08:44the director,
08:44and then the director goes to the director.
08:47So whatever the detailing is happening, all the writers and directors do the same.
08:51So what we see in the future is what we see in the film.
08:53I was just saying that I had heard a story before, but there was a lot of change in the
08:59film.
09:00So the peak detailing, that didn't happen to be the same.
09:04Sir, the same question for you that half filmmakers with are very, very particular about the small detailings in the
09:11film,
09:11which was not there in the 90s or in early 2000s.
09:16The reason is those days people used to come to see the film as okay, it is not a question
09:24of what. In fact, they were coming to see and they never questioned the film. Either
09:31they liked it or they didn't like it. Today it is not that social media, all these people,
09:36too many intellectuals started seeing the film and they started, but still I believe
09:42it is only a small person who does it. But the majority, that's why sometimes we are
09:50all shocked, some film we feel very stupid, but the film will do very well because people
09:55have not bothered, the people who are going to see, see our audience we should understand
10:00one thing, apart from the social media, there is a huge crowd who comes to enjoy the film
10:06and forget the film. They are the majority, they are glued to the film, they started talking
10:14about the film. So that's what I just saw in an interview of Aditya or something, saying
10:20that, listen, when people are accepting the film, why do you criticize us? People have
10:26accepted with, I mean, such kind of acceptance we have never seen in any Indian film so far.
10:32So what is the difference between how people are accepting and how it takes out?
10:36I mean, even in Durandar also, I mean, say, look, kahi logoon ne, apna-apna e comment
10:40deena hai, kisi na, kisi ko deena hai, ki yeh thik nahi tha, wo nahi na, yeh nahi tha,
10:45propaganda hai, yeh hai, wo hai, sab hai. Chal rie hai na bhai pichche, chalne de le hai.
11:01Deena?
11:02energy, good energy, which is the same thing. If one person has 4 km to make a man,
11:10then he can sit down and sit down and sit down and sit down and sit down and sit down,
11:12then he seems to be scared. He is scared. He is scared. He is part of his life.
11:17So, he is a genre that you can enjoy and make it so that you can enjoy it.
11:32So you can never say that this freedom is fake.
11:37Part of life.
11:40You can never say that.
11:43I think, in my opinion, 90% of our Hinduism,
11:50Bhoot, Prith, Jadu, etc.
11:56We all know that.
11:58You know what I mean?
12:01Bad energy, good energy.
12:02There is energy in the water.
12:04You are saying that you have seen the Bhoot?
12:05No, it's an experience.
12:07It's an experience.
12:07It's an experience.
12:09Like in the age of Jain Ji,
12:11I was 12-13 years old.
12:12She said,
12:14Papa, when is the Bhoot?
12:15Because it's her interest.
12:17I haven't even told her about the Bhoot.
12:20But the children,
12:21as we want to see the children,
12:23it's more than that.
12:24Jain Ji's children.
12:25The children are a lot.
12:26Because there are also gluten.
12:28In India,
12:30they are a big audience.
12:34Children are a lot of audience.
12:36And in English,
12:38they are a lot of audience.
12:40Now, we will talk about horror comedy.
12:42You all have been pioneers of horror comedy in India.
12:47And now, this is a huge genre.
12:49So, how do you feel about this?
12:51We just started it.
12:53Then the people took over.
12:54I mean, others took over.
12:56We just started with Bulbulaya.
12:59But I always call it,
13:01it's not a horror film.
13:02It's a psychological thriller.
13:04So, but it is very,
13:07very nice psychology, I'll tell you son.
13:09In a tense film,
13:11a little bit of small humour also works in a big way.
13:16Because they are a little tense in the theatre.
13:20So, a small sequence of humour will work.
13:24But in an out-and-out comedy,
13:26you have to really work hard on humour.
13:30The most difficult thing,
13:31this is something everybody has to accept.
13:35This, I have suffered a lot making comedy films on this.
13:39And when I watch my own films,
13:42which has become huge hits,
13:43when I see it again,
13:44I don't feel like laughing.
13:45Then finally, I think that,
13:47oh, it's gone.
13:48But in the theatre,
13:49I see the response.
13:52Because ten times,
13:53you can't see the same scene.
13:54But there are people watching it twenty times,
13:57thirty times.
13:58This is the most difficult thing.
13:59And every time,
14:00I get a shiver when I try,
14:02humour and horror,
14:03or humour,
14:04with thrill.
14:06I mean,
14:07it's very, very, very difficult.
14:08I can say that.
14:09I have to stop this business soon.
14:12I have decided.
14:13What business?
14:14This comedy business.
14:15Sir.
14:16Sir,
14:16you are Jadugaro,
14:17comedy,
14:18comedy of wearer.
14:20Yeh, both my teacher.
14:22Doh Leng.
14:22Inke saad,
14:2320 saal se kam kanne ko mauka mila.
14:25Or,
14:25sach mein,
14:26inko khush kanne ke lihi ne,
14:27both haar me a teacher.
14:30Eek,
14:30Baji ke saad bhe,
14:32yeh bhanda itna inspired hai,
14:34ki yeh,
14:35inki umr na jeevan kabhi pata nai lagee ghi,
14:38ki ni itni yeh,
14:39bade bachche ke tar hai,
14:40pure sit pe,
14:4020 saal pehli ke joh,
14:42akki baji.
14:43Aaj or,
14:44dhasunni energy meh,
14:45or bachcha ban ke,
14:46inko kam karte dhekta ho.
14:48In physical fitness ke liye,
14:50har uva ke liye,
14:51kya discipline ho na chahi,
14:534 baje se leke,
14:54aur aapke 9 baje tuk,
14:56he is the master,
14:58jis se mein,
14:59itna khush un ki 20 saal mein,
15:02physical fitness mein,
15:03mudgal se leke,
15:04mein bhai se inspired goa,
15:06aur sir,
15:07mein hindi medium se pada ho.
15:09itna inspired huye,
15:10ki aaj jenho ne meri t-shirt peheni huye.
15:12haa,
15:12yeh t-shirt yeh ni ki peheni huye,
15:14yeh kahin huye,
15:15ham dolo dhin bhar hoote hai,
15:16to tu idar khada ho jae,
15:17tiri idar khada ho jae se,
15:19hacha, sun,
15:19he just baal,
15:20kya,
15:21yeh chalata ha,
15:21sir,
15:23we were doing hangama,
15:25hangama ki baatak hangama,
15:27we were not talking,
15:29I was just observing him ki,
15:31what he is,
15:32he is,
15:33bandit,
15:34Rajpaak,
15:35speak english,
15:37so sir,
15:37I am,
15:38I am hindi medium,
15:39but I am understanding your,
15:41you know,
15:41what you want,
15:42no, no,
15:43speak wrong english,
15:44speak wrong english,
15:47first time,
15:47hi sir,
15:48how are you,
15:50now,
15:50believe me,
15:51naam ghaji,
15:51agar,
15:52mein london mein bhi akele ghoom jau,
15:54toh,
15:55I can communicate easily,
15:57because I am an actor,
15:58I know what is called communication,
16:01yeh ho pa hai,
16:01because of this teacher,
16:03meri baai,
16:03paat wajai,
16:04danati hai,
16:05English muje nahi,
16:06pada bai,
16:07no, no,
16:08I have gone through this,
16:09with one more person,
16:10I was shooting the second ad,
16:12of,
16:13Viryandr Seva,
16:14he had a problem with the language,
16:17so,
16:17he was little conscious,
16:19and then I said,
16:20you have signed by Sarai,
16:22what are you going to do there,
16:24speak,
16:24whether it is wrong,
16:25or right,
16:26or wrong,
16:27you speak,
16:28I met him after,
16:32two years,
16:33then he started speaking fluently,
16:36he said he was supposed to speak,
16:38so,
16:39if you are conscious that I can't speak,
16:42there is no other way,
16:43but now he,
16:43they all have to,
16:44because I cannot speak Hindi properly,
16:46but I can understand,
16:48I can even write and read,
16:50because I studied it till 10 standard,
16:52but I can't speak fluently.
16:53So,
16:53now that we are talking about language,
16:56in last few years,
16:57people have,
16:58in India,
16:59people have come out of this colonial hangover,
17:01and they have started accepting Hindi as,
17:04our own language,
17:06and pride,
17:07but,
17:07you are a pioneer,
17:09you are Govinda ji,
17:10at that time,
17:12when you say,
17:13that Hindi speaking,
17:16people,
17:20you know,
17:21you all communicated in Hindi,
17:23back in the 90's,
17:24did you face any barrier,
17:26or events,
17:27I always say,
17:29I always say,
17:30I always say,
17:31I always say,
17:32I always say,
17:33I always say,
17:33I always say,
17:34I always say,
17:44I always say,
17:45I always say,
17:46I always say,
17:47I always say,
17:48I always say,
17:48I always say!
17:48you know that,
17:49but,
17:50you know,
17:51comfort,
17:52comfort,
17:53comfort,
17:53comfort,
17:54my natural...
17:56So,
17:56I started with Priyancar,
18:03Pramoji,
18:04all of these people,
18:0525 years ago,
18:06I believe there are 250 people
18:09on the set.
18:11I believe there are 250 people on the set,
18:14Asanese, Bengali, Hindi, 2.5% of Marathi, Gujarati, all of them are a mixture.
18:21And in that mixture, in truth, there is no problem with language.
18:27I don't think all of them are going to go to Punjabi, Marathi, Gujarati, Hindi, English,
18:42I don't think all of them are going to be in the same way.
18:47We have a few minutes left now. I will quickly ask a question.
18:51Sir, we were talking about Dhurandar, you all have put place,
18:54and the way people are going to theatres.
18:57And not only Dhurandar, but Bhut Mangala.
19:00Actually, you know, honestly, they are waiting,
19:02and because now there is a collaboration.
19:04But do you think the current, like if you see, you know,
19:08the audience could fall in theatres for the past two, three days,
19:11and there are three weeks window.
19:13So, this three weeks window will be sufficient for Bhut Mangala,
19:16because this is also such a huge film.
19:20If three weeks will be sufficient or not,
19:24this is the time.
19:26I am very happy that Dhurandar is so much going on,
19:30and there is such a big football,
19:32and this film is such a great thing.
19:36And it's a great thing.
19:38We are talking about three weeks,
19:40and we are talking about 21 days.
19:44So, I don't think there should be a problem with that.
19:46And that genre is different.
19:49This genre is different.
19:51This genre is different.
19:51This is fantasy, horror, comedy.
19:54This is real, realism, action.
19:58This is an adult film.
19:59This is a family film.
20:02Children also.
20:03Children.
20:28We are really eager to know about present characters of Hira Faini.
20:31That is where the 10 film is, which is the most repeat value in those 10 films.
20:39At present, we are in a little bit of darkness and we are trying to see where the light is.
20:45That is the process for many reasons.
20:49Legal and a few things have to be sorted out.
20:52Then we will proceed with that.
20:54We are waiting patiently for those things to settle in a nice way.
20:59Before we end, there is one question, which is from the film.
21:04The concerts are cancelled.
21:07We are now in the society.
21:09Who is the show?
21:11Shakira's concert has cancelled.
21:13We are currently in the West.
21:15We are currently in the cinema.
21:18It is the main thing.
21:20The concert is the most important for us.
21:21We have to go to the concert.
21:24We should all try to do this.
21:28Bilal, as you said, in this war situation, everyone has been beaten up in the war.
21:33Just we pray that everything comes up. That's it.
21:36Thank you, Ji. Thank you very much.
21:38Peace be upon you.
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