Pdf File - Box Office India : India`s premier film trade magazine

23 May 2015
Vol. 6
Issue 37 ` 200
India’s Premier Film Trade Magazine
“I hate comparisons; every individual has
their own struggle and charm”
Guest Editor - Kangana Ranaut
Volume 6 • Issue 37 • 23 May 2015
GUEST EDITOR
Kangana Ranaut
PUBLISHER
Nitin Tej Ahuja
[email protected]
EDITOR
Vajir Singh
[email protected]
CHIEF SUB-EDITOR
Carol Lobo
PRINCIPAL CORRESPONDENT
Rohini Nag
[email protected]
CORRESPONDENT
Soumita Sengupta
[email protected]
Swagata Panjari
[email protected]
DESIGN CONSULTANT
Sajid Moinuddin
www.hbdesign.in
PHOTOGRAPHER
Yogen Shah
AD SALES
Amey Salvi
[email protected]
Mob: 91-9930908083
SUBSCRIPTIONS
Kalpesh Jadhav
[email protected]
Mob: 91-9930689459
CIRCULATION
Vaibhav Adivarekar
[email protected]
Mob: 91-9769396866
EDITORIAL & ADVERTISING OFFICE
303, Morya Classic, Off New Link Road,
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Printed and Published by Nitin Tej Ahuja on behalf of
Select Publishing Company and Printed at Parksons
Graphics, Off New Link Road, Andheri West, Mumbai
53 and Published at 303, Morya Classic, Off New Link
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Publisher & Printer: Nitin Tej Ahuja
Editor: Vajir Singh
All Rights Reserved. Reproduction of any matter
published in this magazine, in part or whole, in any
language or format, without the express written permission of the Publisher is strictly prohibited and will
be liable for legal action.
The Outsider...
A
small-town, aspiring actor or actress struggles on many levels in Bollywood.
So even if it makes the taste of success sweeter, it is a trial by fire. One,
you take years to figure out things as opposed to when you have the
backing of a filmy family. Two, your struggle may have nothing to do with talent;
it’s all about biases, prejudices and perceptions. For instance, if a Gujarati NRI
from London wants to enter this industry, the trade would rather choose him or her
rather than a Gujarati from Gujarat, even if the latter is more talented. It’s true!
So, when you don’t have any experience in the glamour business and if
you’re not a star kid, it is very important to be crystal clear about what you want
to do. As I said, an outsider struggles on many levels. One wonders, should
I go in for acting or direction or should I become a writer? And once you’ve
made a choice, it doesn’t mean that people are willing to give you work. It’s
a long time before people take you seriously. You have no idea where your
career is going and what you will be doing, so you try out many things.
In the beginning, I sometimes did catalogue ads and sometimes theatre. I
was confused. And if you get a lucky break, there’s another challenge – you’re
not groomed for the entertainment industry. I remember those initial days
so clearly, when I had to attend a music launch or some such event. Unlike
a Miss World, or a Miss Universe, or a star kid, who has a make-up team, I
would simply slap some make-up base on my hand and apply it on my face,
just like I had seen my mother do it. I would then apply some lip balm, go out
and face the public. I had no idea back then that I needed a stylist, especially
when you’re starting with a small film. They don’t give you options like that.
You are not starting with Shah Rukh Khan or Aamir Khan, where you are
asked what designer clothes you are wearing for the music launch. You
are doing Mukesh Bhatt’s film, where you can’t order two sandwiches,
just one, for yourself. The possibilities, your opportunities become narrow
and you’re not very confident and you’re still figuring out things.
For the film Fashion, we had a music launch and Priyanka (Chopra) was
a huge star already while I was just starting my career. I was told about
the event just a day earlier, and I didn’t have anything to wear. I was a
disaster and everyone in the media wondered what I was wearing.
On the other hand, Priyanka had a team to dress her up. I also think that so
many Miss Indias make it big on so many levels, in the industry, is because they
are groomed…. make-up classes, diet classes and etiquettes classes. It took me
years to figure out so many things that many in the industry consider basic. And
this, in addition to learning acting skills and the deep secrets of your craft.
I also had a very bad time with managers. They had my best interests in mind
but they didn’t appreciate my individuality. After Gangster and Woh Lamhe I
didn’t have much work, so Kareena’s (Kapoor Khan) manager Zahid (Khan)
showed faith in me. But he didn’t understand my individuality and insisted
that I do films like Shakalaka Boom Boom and it didn’t work. So I was without
a manager for years. Then, after Life In A Metro, Fashion and Once Upon A
Time In Mumbaai, I met Sanjay Dutt’s manager Dharam through Manyata
(Dutt). But he said if we had to work together, I would have to do mainstream
films and he made me sign all these films… Rascals, Double Dhamaal etc.
You see, when you fail after you take your own decisions, you are at least proud
of yourself and you learn. But if you fail due to decisions someone else took
for you, it is heartbreaking. So those equations didn’t work as I felt they didn’t
appreciate my individuality. They would say, ‘She doesn’t fit in the Kareena bracket,
she doesn’t fit in the Katrina (Kaif) bracket, she doesn’t even fall in the Priyanka
bracket and she is no Aishwarya Rai (Bachchan) in any way. So which bracket
does she fit in to?’ Everyone knew I had talent but didn’t know how to slot me.
My sister, Rangoli, became my manager seven years after I started my career. We
decided that I wouldn’t have the pressure of dealing with strong and opinionated
people, who were admittedly brilliant and experienced. But still… So today, too, I am
on my own. I don’t have an agent and I don’t have a manager. It feels great to go by
my gut. And I think my sister is very kind to have left her career to manage me!
REG: MAHENG/2009/56446
Kangana Ranaut
23 May 2015
Box Office India
03
GUEST EDITOR
India’s Premier Film Trade Magazine
GOLD REVIEWS
I think it is wrong for reviewers to get personal. Sometimes they get so personal, they could scar
someone. Sometimes they talk about an actor’s facial features or body type. I think no one should
get personal; they should keep it purely professional.
Tanu Weds Manu Returns
Banner: Eros International,
Coliur Yellow Productions
Producers: Krishika Lulla, Aanand L Rai
Director: Aanand L Rai
Cast: Kangna Ranaut, R Madhavan,
Jimmy Sheirgill, Deepak Dobriyal,
Swara Bhaskar, Eijaz Khan,
Mohammed Zeeshan Ayyub,
Rajesh Sharma, Navni Parihar,
KK Raina, Dipti Mishra, Aakash Dahiya
Music: Krsna Solo, Tanishk-Vayu
T
wo weeks ago, we had Piku and
this week, Tanu Weds Manu
Returns. Two weeks ago, it was
Juhi Chaturvedi and this week, we have
Himanshu Sharma. Content is king and
it seems our filmmakers are all set to
serve up some really good content to the
audience. Yes, let the good times roll!
Director Aanand L Rai along with writer
Himanshu Sharma impressed us with
Tanu Weds Manu and then exceeded
expectations with Raanjhanaa. Now they
have brought yet another outstanding
story to celluloid, with Tanu Weds Manu
Returns. In the first instalment, the duo
proved their mettle and showcased
their knack of bringing out a rustic
narrative to the big screen. This time
around, the duo has outshone their
previous effort by leaps and bounds.
Expectations are naturally high with
this jodi, making you wonder if they will
match up to the magic they created
before. But you leave the auditorium
content that they indeed delivered what
was expected – and more. The film
does have its flaws but since you’re
served up a true Indian paisa vasool
entertainer, you’re in a forgiving mood.
What goes in favor of Tanu Weds Manu
Returns is the perfect casting and the
substance on the storyboard, which is
presented with conviction on the silver
screen. The film is pure, unadulterated
entertainment from the word ‘go’ and you
fall for the film, hook, line and sinker.
In 2011, we met the unlikely couple
from Kanpur – a high-spirited and fearless
Tanuja aka Tanu (Kangana Ranaut) and
a stoic, London-based doctor Manoj
Sharma aka Manu (R Madhavan) and
saw how their love story blossomed in
the most unlikely manner. The sequel
to the film starts
with Tanu and Manu
getting married. Four
years later, we see
the couple indifferent
towards each other.
They end up bickering
at a counseling
session, where Manu
shouts at Tanu and
loses his cool. Hence
Manu is locked up
in an asylum for
violent behaviour.
Tanu returns to
Kanpur, leaving Manu
in the asylum and
tells Manu’s friend
and confidant Pappi
(Deepak Dobriyal)
about Manu’s condition. Soon Manu
returns to Delhi as well. Tanu becomes
her eccentric self, and after she flirts
with her tenant Chintu (Mohammed
Zeeshan Ayyub), he falls for her.
Meanwhile, Tanu meets her ex-boyfriend
Raja Awasthi (Jimmy Sheirgill), who is
engaged to be married. Tanu and Raja
start meeting again whereas Manu meets
a Haryanvi athlete Kusum aka Datto
(Kangana Ranaut), who looks like Tanu
but is nothing like her. Manu falls in love
with Kusum but is still hung up on Tanu.
In the meantime, Chintu who is also a
lawyer, sends Tanu’s divorce papers
to Manu without her knowledge. How
the story unfolds forms the crux of it.
Rai is spot on. He wraps the story
with a wonderful mix of emotion and
comedy. The film is a smooth sail
during the first half and it is post-interval
that the narration lifts to another level.
Sharma outshines with the complexity
of his dialogue, delivering witty one
liners as well as emotional lines.
Many scenes leave you awestruck.
For instance, the interaction between
Kusum and Manu and how their
relationship flourishes. The conversations
between the characters, whether
Manu and Raja or Manu and Tanu
or Manu and Kusum. The lines flow
easily, and humour is injected subtly.
Music by Krsna Solo, Tanishk-Vayu
works along with the screenplay,
complimenting the narration to the
fullest. Background score is good too.
Costumes and locations are fabulous.
Cinematography by Chirantan Das is
top notch. Editing by Hemal Kothari
is firm, and with a runtime of 120
minutes, the scenes are fitted with
perfect segue. The dialogue is tight
and includes some funny one-liners.
Performance-wise, Kangna Ranaut has
undoubtedly emerged as a master of her
craft. As Tanu she exudes confidence
right from the first frame to the very
last. As Kusum, Ranaut plays her part
with the right balance of naivety and
flamboyance. She looks spectacularly
beautiful and her ability to grasp the
minutest details of her characters
stands out this time as well. This is yet
another award-winning performance
from this actress par excellence.
R Madhavan wraps subtlety around
his character and delivers an outstanding
performance. Jimmy Sheirgill delivers
another stunning performance.
Deepak Dobriyal Singh is fabulous and
plays his part with panache. Swara
Bhaskar is good. Eijaz Khan is okay.
Mohammed Zeeshan Ayyub plays his
part with extreme conviction. Rajesh
Sharma plays his role with gusto.
Aakash Dahiya is noteworthy. The
rest of the cast supports amply.
Verdict: Super Duper Hit!!!
Karo Dil Ki
04
Box Office India
23 May 2015
NEXT ATTRACTION
A proper release date is very important. And that’s why we
advanced the film by three weeks – to get a clear window
MAY 2015 - DEC 2016
May 29, 2015
Welcome 2 Karachi
P Se PM Tak
Ishqedarriyaan
Jun 05, 2015
Dil Dhadakne Do
Jun 12, 2015
Hamari Adhuri Kahani
Jun 19, 2015
ABCD 2 (3D)
Miss Tanakpur Haazir Ho
Jun 26, 2015
Bezubaan Ishq
Jul 03, 2015
Guddu Rangeela
AZHAR
Second Hand Husband
XXX
Eid 2015
Bajrangi Bhaijaan
Jul 31, 2015
Drishyam
Bangistan
Aug 07, 2015
Calendar Girls
Aug 14, 2015
Brothers
Gour Hari Dastaan
Aug 21, 2015
All Is Well
Aug 28, 2015
Phantom
Sep 04, 2015
Shandaar
Sep 11, 2015
Kya Kool Hain Hum 3
HAMARI ADHURI KAHANI
ABCD 2
Mmirsa
Pyaar Ka Punchnama 2
Madari
Sep 18, 2015
Katti Batti
Meeruthiya Gangster
DILWALE
Fraud Saiyaan
Oct 02, 2015
Rocky Handsome
Talwar
Singh Is Bling
Wazir
Oct 09, 2015
Jazbaa
Oct 22, 2015
MS Dhoni - The Untold
Story
Nov 11, 2015
Prem Ratan Dhan Payo
Diwali 2015
Ghayal - Once Again
Nov 27, 2015
Tamasha
Dec 11, 2015
Hate Story 3
X-mas, 2015
Dilwale
Bajirao Mastani
JAGGA JASOOS
Mar 25, 2016
Baadshaho
Apr 15, 2016
Baaghi
May 13, 2016
Azhar
June 03, 2016 Jagga Jasoos
Eid, 2016
Raees
Aug 12, 2016 Mohenjo Daro
Nov 2016
Shuddhi
Dec 23, 2016
Ranbir-Alia-Ayan’s Next
Dangal Jan 22, 2016
Airlift
Feb 12, 2016
Fitoor
2016
Ram Lakhan
Feb 12, 2016
Sanam Re
Jan 26, 2017
Shivaay
23 May 2015
Box Office India
KATTI BATTI
05
Neither do I read the newspaper nor do I watch TV or meet people. And I can guarantee
you that I am the happiest person in the industry.
TRADE GUP
Will He,
Won’t He?
A
fter the debacle of Raja
Natwarlal, Kunal Deshmukh is
taking it very slow before he decides
the subject of his next film. Now
we hear the director is talking to
Sanjay Gupta, who has offered him
a remake of a Korean film. Like we
said, Deshmukh is taking his own
sweet time to decide whether to
take up Gupta’s offer or direct Tips
Entertainment’s next, whose script is
being reworked at the moment.
Bhatt
Pens For
Gada
Diljit Dosanjh
Plays A Cop
L
ast week, the cast and crew
of Udta Punjab had a wrap-up
party in Punjab after they finished
shooting their film. Abhishek
Chaubey with his team is now
gearing up for the post-production.
Although details about the film
are under wraps, we hear that
Punjabi superstar Diljit Dosanjh
plays a cop in the film. The
character also connects the three
stories and reveals the truth
about drug addiction among the
youth in Punjab.
W
e all are aware
that Mahesh
Bhatt has said byebye to direction but he recently penned
a script for Mohit Suri – Hamari Adhuri
Kahani. We also hear that he is writing
a script for Jayantilal Gada’s Pen India
Company. It’s an intense love story, which
will go on the floors next year. We also hear
that the film will not be co-produced by
Vishesh Films. Bhatt and Gada will decide
whom to rope in to direct this film once
they finish scripting it.
The Fate Of
Welcome
Back
A
nees Bazmee’s Welcome
Back has been in the news
ever since he announced a sequel.
But all is not well with the second
instalment. The film, which was
to release along with PK during
Christmas last year, was postponed
to May 19, with Bombay Velvet.
But it did not release. Reason:
The budget has shot up and no
corporate house is prepared to step
in. As a result, Firoz Nadiadwala
has no one to release the film.
Bazmee says, “The film has been
postponed and I don’t know when
will it release.”
Home
Production
On Hold
A
few months ago, Abhinay Deo
announced his directorial plans
with Irrfan, Aditi Rao Hydari, Divya Dutta,
Kunaal Roy Kapur and Vijay Raaz as lead
actors. The film was to be produced by
Rakesh Roshan but he backed out due
to creative differences. So Deo was to
produce the film alone. But it seems his
production plans are on hold as he is
concentrating on Vipul Shah’s next, Force
2. A source from his unit reveals, “The film
with Irrfan was to start rolling in the middle
of this year but after Roshan backed out,
he hasn’t got another producer. So he
has decided to go ahead with Force 2.”
Abhinay Deo was unavailable for comment.
For more trade news please log on to www.boxofficeindia.co.in
06
Box Office India
23 May 2015
Flying Sikh
Postponed?
R
emo D’Souza is busy promoting his upcoming
release ABCD 2, and soon after that, he was to
start rolling his next Flying Sikh starring Tiger Shroff
and Jacqueline Fernandez. Alas, in this industry,
things rarely go according to plan. The film was to
start rolling in July in Mumbai but Tiger Shroff has
allotted dates in June to Sabbir Khan’s Baaghi while
Fernandez will start shooting for Dishoom. Worse,
both actors cannot allot their dates together, at least
not till end-August. As a result, D’Souza has no
other option than to wait for his leading cast.
PK Opens Big In China
P
K has opened to a bumper box office at USD 736,000 across
4600 screens in China yesterday. This is the highest opening for
any Indian film in China, and the second highest opening for film for
today in China. This is the second highest opening for any Overseas
territory for PK (North America was 972 K USD) which went on to do
over 10 Million USD! And higher than Gulf which opened at 640 K
USD on the 19th of December. The cumulative GBO for PK is now
at 27.4 million USD, and is all set to become the biggest Indian film
overseas ever.
Sadh To Play A Footballer
L
ast week, Box Office India told you first that Shivam
Nair had signed Amit Sadh for a mountaineeringthemed film. Now we hear that Eros International has
signed a new director, Mohit Jha, to direct Amit Sadh in
a film based on football. And, no, it’s not a biopic. The
film is based on a Kolkata football club and revolves
around five main characters. Rupa Ganguly will be
playing one of the lead actresses. Jha confirms, “Yes, I
have signed Amit Sadh for my film, which is yet untitled.
But football is just the backdrop of the story; the rest is
based on the father-son relationship. Ronit Roy will play
the father’s character and the film will hopefully start rolling in October.”
Guess Who?
T
his is what happens when you don’t capitalise on the curiosity of the audience.
Right from the first look, to the trailer, to the first song, everything had created a
strong buzz around this film. But the buzz is now subsiding.
Reason: the marketing team of this corporate house is not going all out to promote
the film. According to them they went flat out for previous movies but those films
tanked and the team doesn’t want to burn their fingers again.
Who will convince them that if they capitalise on the craze this film has generated,
it could be a goldmine for them? Would they even listen?
23 May 2015
Box Office India
Guess Who?
T
his director may not be
considered a big director but
he sure knows how to build hype.
This time, again, he spread the news
that this A-lister with whom he has
worked in the past has agreed to do
his next film. Naturally, corporate
houses were very keen on taking
him on board. The director has
therefore met with all the big studios
and has trotted out the same line to
each one: the actor has agreed to do
the film but will sign the agreement
only after the final draft is ready. In
the meantime, he hopes, at least
one corporate house will sign a deal
with him.
His reasoning didn’t cut any ice.
All the corporate houses told him
that they will crack a deal with him
only after the A-list actor in question
signs the agreement. The director is
smart but, it seems, everyone else is
even smarter!
07
STRAIGHT NEWS
Unfortunately, no. But you get to know people when you work with a studio.
SRK Undergoes Knee
Surgery
S
hah Rukh Khan underwent arthroscopic surgery of the left knee
on May 21. His doctor says the surgery was successful and has
advised SRK complete rest for three to four days. Dr Sanjay Desai,
who operated on Khan at Breach Candy Hospital, said, “SRK had
been suffering from repeated pain and swelling of the left knee over
the last several months. Today’s surgery confirms Chondral Wear of
the Patella, which is due to repeated injuries over the last few years.
Based on today’s arthroscopic evaluation, future management will be planned. He has
recovered well and is likely to be discharged tomorrow.”
SRK will be on a break following his discharge to recover and will resume work soon.
Yash Raj Films Ties Up
T
o target its younger audiences, Yash Raj Films (YRF) has tied up with the world’s
largest trivia game – QuizUp. This is a real-time trivia game in which one user
competes against another over an interest-led topic. Boasting 34 million users worldwide,
the app also allows users to challenge friends and strangers to trivia battles across 600-odd
topics. With this tie-up, the movies section will feature the Yash Raj Films – Films Forever
topic with hundreds of unique trivia-led questions. YRF is the first Indian production house
to be featured on this app.
Celluloid and Digital To Co-Exist
A
proven technology that has existed for over a hundred years went through a swift
transition a couple of years ago, forcing many in the business of celluloid to shut
doors and curtail their operations. Sanjay Patel, Managing Director of Filmlab India
Pvt Ltd, who grew up in an environment of celluloid labs under the family business of
processing films, believes in the archival benefits of celluloid and wishes to support users
of this technology, till it is viable and feasible. Being the first colour lab in Asia, Filmlab
aims to be the last facility serving in the space of celluloid services.
The touch, feel and results from celluloid still encourage some veteran filmmakers to
originate their content on film. The only expectation of the filmmakers is best processing
results and sustenance of processing services until the entire film shoot is completed, and
this puts celluloid on the preference list for content origination.
Filmlab continues to stay committed to this expectation and has assured many
passionate filmmakers who continue shooting on celluloid.
Currently, Kodak is the only company that manufactures celluloid film (negatives for
origination, intermediate for digital recording and positive print film for release film) but it
has decided to curtail its Indian operations. But to keep the celluloid medium available
to Indian filmmakers, it recently awarded Filmlab the sales and distribution rights of its
motion picture film products. This news brings cheer to celluloid lovers, who have an
opportunity to use this medium once again.
In this challenging business environment, while Filmlab makes this effort to continue
offering celluloid film and processing services, it strongly believes that unless technicians
and filmmakers support them in keeping this medium alive, parallel to digital, all these
effort may go in vain after a point.
Currently, Filmlab runs the negative machine daily and remains continuously occupied
with direct to print service, with 2 Cinevators installed. Not only does it cater to the print
film demand of Indian filmmakers, but also of neighbouring countries.
Having set up a boutique post-production DI unit, with handpicked artists and
technicians, Filmlab makes sure it meets the digital post-production requirements of
filmmakers too. It acknowledges technicians who believe in artists (man behind the
machine) over machines and choose to work in the well-crafted set-up that Filmlab Digital
offers. Filmlab strongly believes that if investment in the digital workflow is not made
sensibly, it may put many out of business in a very short span, as digital is not a one-time
investment, and needs regular upgradation.
With clarity in its vision and actions, Filmlab continues to make a contribution to the
industry, as long as the industry is in need of it.
08
Movers & Shakers
Saurabh
Saxena Joins
Carnival
Cinema
S
aurabh Saxena
has joined as Chief
Operating Officer of
Carnival Cinemas.
Saxena has 24
years’ experience in
the hospitality and entertainment
industries. He was previously
associated with multiplex
organisations such as PVR, Fame
Cinemas, Cinemax, Inox, Wave
Cinemas and Sahara Entertainment.
After acquiring HDIL’s Broadway,
Reliance’s Big Cinemas and
Glitz Cinemas, Carnival now
has 346 screens in the country.
The cinema chain is present in
Kerala, Karnataka, Tamil Nadu,
Maharashtra, Madhya Pradesh,
Uttar Pradesh and West Bengal.
Red Chillies
Appoints
Pradeep
Nimani
R
ed
Chillies
Entertainment Pvt
Ltd has appointed
Pradeep Nimani
as Chief Financial
Officer. He has
18 years of
experience in
the Corporate
Finance,
Accounts, Taxation, Audit, M&A,
Legal and Investment Advisory.
Earlier, he was Group CFO of
Dubai-based Dar Capital Group.
Venky Mysore, CEO of Red Chillies,
says “the role of a CFO has
become critical for a production
house, considering the importance
of growing the business in a
competitive environment.”
Box Office India
23 May 2015
Dynamic Trade Estimate of Box Office
All figures in crores (rupees)
Last Week
Current Week
Weekly Change
Rel date
Movies
Box Office
Exh
Dist
Bookies
Exh
Dist
Bookies
Exh
Dist
Bookies
May 22, 2015
Taun Weds Manu Returns
Weekend
30
34
33
32
38
35
2
4
2
First Week
45
51
47
50
60
55
5
9
8
Total
60
68
64
75
85
82
15
17
18
Weekend
4.5
6
5
6
7
6
1.5
1
1
First Week
7
10
8
8.5
11
11
1.5
1
3
Total
9
12
10
11
13
14
2
1
4
Weekend
1
2
1.75
1
1
2
0
-1
0.25
First Week
1.5
2.5
2
2
2
2
0.5
-0.5
0
Total
2
2.5
2
2.5
3
2.5
0.5
0.5
0.5
Weekend
38
42
40
35
40
38
-3
-2
-2
First Week
58
68
64
55
64
58
-3
-4
-6
Total
72
85
80
70
80
75
-2
-5
-5
Weekend
40
45
42
34
40
38
-6
-5
-4
First Week
62
68
66
55
60
55
-7
-8
-11
Total
82
90
85
78
80
75
-4
-10
-10
Weekend
50
55
52
50
53
52
0
-2
0
First Week
70
78
72
70
75
72
0
-3
0
Total
95
105
100
95
100
100
0
-5
0
Weekend
6
8
7
5
7
6
-1
-1
-1
First Week
10
12
12
9
11
11
-1
-1
-1
Total
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May 29, 2015
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23 May 2015
Welcome 2 Karachi
P Se PM Tak
Dil Dhadakne Do
Hamari Adhuri Kahani
ABCD 2 (3D)
Guddu Rangeela
Box Office India
09
TRADE TRAC
Only when my film is about to release and after its release. Otherwise, I don’t
know which film has released or is supposed to release and what the buzz is
@BOI
“I hate comparisons;
every individual has
their own struggle
and charm”
Guest Editor Kangana Ranaut in conversation with team Box Office India
10
Box Office India
23 May 2015
Box Office India (BOI): Congratulations
on your second National Award. Were
you confident about getting the award?
Kangana Ranaut (KR): No, I didn’t
know as the National Awards are
government awards and, unlike
the usual awards where you know
beforehand, these are on an altogether
different level. If an actor has been
invited to attend or perform at the
awards, there is a definite possibility
that they are going to bag an award.
But the National Awards have
nominations from a lot of films, which
one might not even be aware of. In
fact, the actor who won the Best Actor
National Award this year, Sanchari
Vijay, is yet to have his film released.
So they even consider films like that,
with both mainstream and regional
cinema. You have no idea who your
competition is. It is very hard to tell
which performance will be appreciated.
BOI: This is your second award and
you have won it after seven years. It is
truly an achievement for an actor.
KR: Yes, it is, not many of my
contemporaries have two National
Awards. Especially at this age, at 28,
two National Awards in two different
categories. I believe that the Best
Supporting Actress category is very
tough as there is too much competition
out there, especially at the national
level. The National Award for an
actress has all the nominations from
films which have strong female roles
or are women-centric. So the filtering
process is not difficult. But almost
every film has a supporting actress.
So it is very difficult to win in that
category.
BOI: Do you think Queen is a turning
point in your career?
KR: Absolutely! Not only for my
career but a turning point for the film
industry. This film will be remembered
in the history of our cinema, in terms
of a film’s screenplay, in terms of
revolutionary cinema, in
terms of a plot, in terms
of marketing, in terms of
everything. The films being
made nowadays have so much
ease. They don’t have any
façade, nahi hai item number
sab mein. There was a time
any and every film had an item
number, including children’s
films. Earlier, films had too much
of a façade. If the story was plain,
they added too much background
music. Earlier, there was this huge
effort to make a film into a product
but now every filmmaker is much
more easy going… yeh film hai jisne
23 May 2015
Box Office India
dekhni hai dekho jisne nahi
dekhni mat dekho. And that is
so good.
BOI: Even your film, Queen’s
director Vikas Bahl had
an item number in his first
children’s film.
KR: Chillar Party! That’s exactly
what I mean. It is a children’s
film and you have Ranbir
Kapoor dancing in a disco. But,
I believe that if a film like Chillar
Party were to be made now,
it wouldn’t have an item song
in it. If I am not mistaken, that
film also had Salman Khan in a
song. If one were to make a film like that
today, they would never go in for these
things. I am not calling them gimmicks
because who am I to pass judgment but
there was a time everything had an item
number and it was very bad for our films
as the universal language of cinema
hasn’t changed. If you watch Aag, or
Kaagaz Ke Phool, or Pyaasa or any
Hollywood film, performance and the
language of the film in terms of cinema
are the same.
I believe that films should be
universal. But if you feel that your own
cinema has a childish tone, no one will
be able to understand it. And that is
a reflection of our society. That is why
people think Indians are like this. We
think the audience has an attention
span of a child. We feel that we have
to keep doing something or the other
on the big screen or else the audience
will lose interest. They are not children
but that is the impression our cinema
gives. If this was the case, why are
films like Dum Laga Ke Haisha, Queen
or Piku working at the box office? It is
a proof that you are underestimating
the audience because of your own
insecurities.
BOI: A lot of actresses had said
no to Queen but
you did the film. Did you know it would
be an eyeopener for the industry?
KR: No, I had no idea. And it is not
just me but all the directors Vikas was
competing with and I asked him where
he would go after this. In his category,
there were all these top directors of
the industry. I said, ‘Ab, tumhare liye
karne ko kuch raha hi nahi hai.’ This
is the biggest crisis of your life, this
nomination list and you winning the
award. I told him this is as good as it
can get.
At that, time no one was willing to
put in their money in the Phantom
banner. Vikas was going everywhere
but only Vikram Malhotra showed faith
in the film. Vikas is now a leading
director but he was no one back
then and even I was at the bottom of
my career. So this film is even more
special.
BOI: As an actor, is it difficult for you
to outdo a Queen?
KR: No (Laughs).
BOI: Why is that?
KR: (Laughs) Dekho aap Tanu Weds
Manu Returns. You will take back your
words.
BOI: You were very keen on making
Tanu Weds Manu Retuns and you
kept on insisting Aanand (L
Rai)…
KR: No,
in fact
after
Tanu
Weds
Manu, I
wanted to
work with
Aanandji and
he narrated
Raanjhanaa
to me but I
suggested Sonam
(Kapoor) and he
too thought she
would suit the role
11
@BOI
better. Aanandji is like a brother so
we discuss films too. He also said he
was planning a sequel to Tanu Weds
Manu. I refused and told him not to
nurture this thought. In fact, Vikas says
people are asking him to make Queen
2, and I have firmly told him he should
not even entertain that thought as I
don’t want to do the same character
again. I also believe that the magic that
was created shouldn’t be tampered
with.
So I said no to Aanandji. But he
kept telling me it was a very sensitive
husband-wife love story and I thought
that Aanand was not a gimmicky
director. He will make a film only when
he has a good story to tell. He will
not make a sequel simply because
he wants to cash in on the first part.
He is a very intense person, a very
intense director. So I thought I would
hear it once, and I was blown away by
the narration. I hadn’t heard such a
beautiful script in such a long time.
BOI: Was it difficult to get the Haryanvi
accent?
KR: Playing a Haryanvi girl was difficult
but what was even more challenging
was keeping both the characters’
chemistry. There is rivalry between
Datto and Tanu’s characters and both
of them can’t overshadow each other.
Their rivalry drives the plot forward. If,
at any point, Datto’s existence was to
become superficial, we would have lost
the plot. If you see Kangana Ranaut
as Datto, the film dies then and there.
So that was very challenging for me.
Moreover, both characters I play in the
film are very contrasting.
BOI: In Queen, you were credited as a
dialogue writer. Have you given your
inputs to this film also?
KR: I love the way Himanshu (Sharma)
writes, I love the nuances he injects in
sequences. But I can’t write or think
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like him. This is how my
lines go, ‘Mujhe lagta hain
na London mein usne sex
kar liya hoga’ from Queen,
which is random and
the way we speak in our
daily life. So I can write
for scenes that require
everyday conversations.
But with Himanshu,
every morning on the
sets I used to be, like,
‘Himanshuji, aisa kaun
bolta hai? ’ One day,
a girl gets to know
that her husband is
cheating on her and
she confronts him with
a line like, ‘Hum thode bewafa
huye, toh tum bachchalan ho gaye? ’ I
said who speaks like this, Himanshuji?
He used to reply, saying, ‘Mere
characters aisa bolte hain.’ So I can’t
write lines like that. Only I know how I
delivered those lines and sometimes I
had to tone them down because, first
of all, it’s an intense love story and I
didn’t wanted that the humour of these
lines to eclipse the plot of the film.
BOI: In your early days, you did films
like Gangster, Woh Lamhe, Life In A …
Metro, which got you critical acclaim
but then you did some commercial
flicks too. Then Queen changed things.
Have you now become more choosy
about the scripts you accept, like
doing only roles where you can deliver
a strong performance?
KR: Initially, I struggled to get roles
and get noticed. So I was offered
some good roles but it also happens
that you chose some films which you
might not like but you do them for
financial reasons or because you are
influenced by people around you. But
there comes a time when you
become financially stable and
you have options. So you are
financially and professionally
secure at this point and you
don’t have to become choosy
because you’re at this stage
where people were scared
to give me narration. For
example, when Aanandji
and Himanshu narrated
the script of Tanu Weds
Manu Returns to me,
I loved the idea. I
believe screenplay is
Himanshu’s strength.
Himanshu saw Queen
and then there was no
word from him. And
I am, like, weren’t
we supposed to
start shooting? He
later said, ‘Actually, I was still writing
roles for the Kangana you were four to
five years ago. Then I understood the
depth of the person and the actor that
you had grown into. So I had to write
for today’s Kangana Ranaut.’ That’s
why he was absconding for five to six
months, and I knew iss baar Himanshu
kuch topchi likh ke lane wala hain and
meri halat kharab karega aur wahi hua.
BOI: After Queen, you had signed up for
quite a few films but you later exited
them. Why?
KR: I had signed a deal with Hansal
(Mehta), but when I heard he was no
longer directing Sarabjit I also walked
out. With Reema Kagti’s film, there
were date issues and secondly films
that offer me bigger roles to play
become a bigger priority for me. I have
many biopics or roles where I have 5050 per cent to play with the male lead.
Also, you’re destined to do some films.
BOI: Do you think this is the most
difficult time in the industry because it
is very difficult to get nothing but the
best?
KR: No, I am in a comfortable space
today. People sometimes ask me,
‘How will you feel if Tanu Weds Manu
Returns become a superhit?’ But I
think what major will happen a good
film will be appreciated. Aanand has
given his sweat and blood to the film
and he is a good director. When he
was writing the script, he had two to
three big studios waiting for him. They
wanted to work with him, all the big
actresses want to work with him. It’s
the most tracked trailer of this year. All
things considered, I don’t think it would
be a big deal if the sequel becomes a
super hit.
Badi baat tab thi jab while making
Tanu Weds Manu, their money used
to get over after every
schedule.
Box Office India
23 May 2015
After every
schedule, they used to tell us,
‘We will let you know when we are
starting our next schedule’ because
they didn’t have enough money. So
the shoot would resume after every six
months. Kisi se chaalis hazaar toh kisi
se ek lakh. Somehow they managed
to finish the film and then they were
looking for someone to release the
film, someone who would take it to
cinemas. And you realise there is
no buyer and then someone comes
along and agrees to release the film.
That is exceptional. It would be such
a shame if we fail to prove ourselves,
considering the facilities and resources
we had.
BOI: Do you think the industry’s
perception towards you has changed?
KR: Definitely! Today people
concentrate on every look that I
want… Datto’s look and Tanu’s look.
There was a time when they didn’t
have money to pay for my costumes
and look. Jitney minimum mein
kar sako kar lo. We used to wonder
whether we should do a retake or not
because we simply did not have the
budget. So a lot has changed.
BOI: When you look back at those
times, how do you feel?
KR: I don’t like when people compare
me with other actresses. I hate
comparisons; every individual has
their own struggle and charm. Why
do people compare? My journey is
not from Pali Hill to Pali Hill. I come
from a remote valley in the Himalaya.
I have carved my own individuality,
so why am I being compared with
those actresses? I respect their
journey but I have a different
journey. I have emerged from very
difficult circumstances. Tanu Weds
Manu was made under very difficult
circumstances even though it is one of
the most-talked about films of this era,
23 May 2015
Box Office India
My character
is one of the most
talked-about characters. But it was
not easy to make this film. So I think
people should respect our journey and
our individuality.
BOI: Do you feel part of the industry
now?
KR: No, and I don’t want to. Recently,
when Bombay Velvet didn’t work,
people trashed Anurag Kashyap. My
point is, everyone fails; no one can
make a super hit film every time. I
watched the film and I felt the film
was made with something specific in
mind, a genuine effort. But why target
the film so much? Aisa lagta hai log
khanjar leke khade hain. Especially
the social media, it’s a very poisonous
platform. I am very happy where I
am, I don’t want to be part of this
industry. All I want to say is films will
be made, people will come and go,
some will succeed and some will not.
Some will fail and then succeed. There
is no respect here, people change
with every film. I have seen these
things myself, how people
behave. They can scar
you for life. So people
should relax and calm
down. Let everyone do
their own work.
small towns
are just as intelligent as
people from the metro cities. The only
difference is that we lack confidence.
When people around you speak in
jargon, you will be able to understand
the fancy words they use if you have a
degree. So the editing course helped
me become more confident and
understand some of the technicalities
of filmmaking. I don’t really want to
learn to edit but I want to understand
the other person’s perspective and
that helps me develop respect for that
craft. I have seen directors who are
confused while shooting and while
editing too. Once I learn that part of
filmmaking, it helps me understand
their perception. Thus, when I talk to
them, we are on the same page and
I can speak to them about their craft
with respect.
BOI: What about your directorial
plans?
KR: Currently, I am looking at a few
scripts. I am choosing projects which
will take me forward. I don’t want to
jump into anything. When the time is
right, I will direct my film.
BOI: You are planning
to learn editing now,
How much does it
help you to grow as
an actor?
KR: It helped me
a lot. And this is
my message to
everyone from a
small town… If
you plan to make
it big, education
is the only way.
Study as much
as you can. People from
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@BOI
Packing A Punch
Producer Dhaval Gada, director Kundan Shah and leading lady Meenakshi
Dixit of P Se PM Tak in conversation with team Box Office India
Box Office India (BOI): Kundan sir, after
more than four decades in the industry,
how would you describe your journey?
Kundan Shah (KS): I have made seven
films in four decades. After Jaane Bhi
Do Yaaro, there were no offers and, still,
there are no offers. There was just this
man who backed the project.
BOI: How did this project come
together?
KS: It’s a black comedy. The film is a
political satire and the main protagonist
is a prostitute. Usually, prostitutes
have a very sad story when presented
on celluloid. Even this is a very tragic
story but we have interpreted it in a
different way. We have maintained the
tragedy but she is an observer. We
have used comedy, slapstick comedy,
and in terms of the story there is a raid
on her brothel and she is the only one
who manages to escape. She meets a
man and he tells her that his sister is
running a brothel in Satara and that she
should go there. This prostitute is from
Pune and she has no money. So this
man tells her to go to Satara, where his
14
sister will manage everything.
She lands up in Satara along with a
tea boy, who is graduating into a pimp.
When she lands in Satara, that brothel
too is raided because there is a byelection underway there. So this woman
gets caught in the by-election and ends
up becoming the chief minister in just
four days. Soon she is asked to stand
for election as Prime Minister. That’s
how the story progresses. She didn’t
want to be CM and she didn’t want to
get into politics but due to the absurdity
of situations, she goes with the flow.
BOI: What made you cast Meenakshi in
the film?
KS: This role had a fantastic range.
I approached Madhavan and even
Farooq Sheikh for the role that Bharat
Jadhav is now playing. But the first
question everyone asked me was who
was going to play this girl’s part. It is
such a colourful role and everyone
wanted to know who was playing
the part. Strangely, many actresses
rejected the part outright. I tried
Madhuri Dixit before she got married
even after she got married but no
luck. Dhaval and I have worked on this
project together for seven years.
Finally, his father (Jayantilal Gada)
gave me an ultimatum and told me that
they had found an actress. She worked
in television and was a comedian, and
the producers were prepared to pay her
whatever she asked for. But there was a
problem – I found out that this actress
had signed the film not for me, or the
script, or the role but for the money.
I told the producers I cannot work
like this as the role is very important
and the range of the character is very
different. Also, this was a very small
budget film so we needed someone
who really wanted to do this film.
Meanwhile, we had been testing girls
for the part and his father gave me
an ultimatum of five days. Meenakshi
happened to audition. And just like
that, 15 years of making this film fell
into her lap in just four days.
BOI: Did you change the script as it was
meant for 15 years ago?
KS: No, the story is the same. A story
Box Office India
23 May 2015
and we hope it works.
KS: The smaller the film, the bigger
the adventure.
can never get outdated, just like Jaane
Bhi Do Yaaro.
Dhaval Gada (DG): (Cuts in) Basically,
it is a political satire. Since it is not
today’s story, nor yesterday’s or
tomorrow’s story, it was not dated. So it
didn’t make much of a difference. It is
a universal story.
KS: Yes, we wrote the script seven
years ago but it is still relevant. We
have not used a prototype politician;
only the essence of a politician who is
even relevant today.
BOI: What were you thinking when you
were cast in this film?
Meenakshi Dixit (MD): I wasn’t
expecting to get the role and I was
very surprised. I didn’t believe that I
had actually cracked it, so I thought,
let things sink in and wait till I actually
signed on the dotted line. But when I
signed the agreement, Kundan sir told
me, ‘Don’t think we signed you for the
film because you fit the character. We
signed you because you are nothing
like the character and you have to
work towards it. Until you do that, it is
not confirmed whether you will do the
film or not. So I was on tenterhooks
every day till we finally started rolling.
KS: We rehearsed for three months.
MD: I was in love with the script. And
I was given an ultimatum ‘n’ number
of times. There came a point that
I became so selfish and was ready
to do anything. Sir mujhe subah 9
baje se raat ke 9 baje tak baitha ke
rakhe for the rehearsals and I had no
problem.
KS: I would tell Dhaval that we made
a huge mistake. We paid her what
was in the agreement and, after six
months, she says she would have
done the film for ` 1 (Laughs).
MD: Yes, I said that (Laughs).
KS: It is a brilliant role and that is why
everyone kept asking who was playing
this part. This character has such a
wide range of emotions, from tragic to
comic, to becoming a statement and a
metaphor and becoming the voice of
our society.
BOI: Dhaval, how creatively involved
were you in the film?
23 May 2015
Box Office India
BOI: Dhaval, was it after Kahaani
that you thought of making this film
even though it was with you for seven
years?
DG: Yes, immediately after that.
Kahaani was definitely a game-changer
for us but when you are sitting on that
chair and have to make decisions, you
go with your gut and have to believe
in the product. So after Kahaani,
we did Issaq and the animated film
Mahabharat and then this film. But it
was around that time, in three to four
months, that we locked a few scripts.
DG: I think when Kundan sir is there,
you don’t need to be creatively
involved at all. We liked the script and
locked it seven years ago. We were
waiting for the D-Day and there
was not much involvement from our
side. But, with other projects, we
do get involved. In this case there
was no need.
BOI: Now that you have begun
promoting the film, what is the
marketing plan?
DG: We have tried to crack a different
strategy. We are not looking for a big
release but a concentrated release. I
mean, if a multiplex chain offers me
800 screens, that wouldn’t help as
we are looking for 350 screens. And
we are not even looking at a specific
number of promos because if you
load a small-budget film with a big
marketing budget, it becomes very
difficult to recover your investment.
This is a small kind of film and we
have to accept that fact. So we are
going ahead with a different model
BOI: Kundan sir, in all these years,
weren’t you approached to make any
films?
KS: I had signed an exclusive
agreement with Tips Entertainment
that I would only direct films for them.
Rameshji (Taurani) was a very dear
friend. He asked me to direct Dil Hai
Tumhaara, which was not my script.
It was written by Rajkumar Santoshi
and I am not very comfortable while
directing other people’s stories. But
they forced me to direct that film.
My point is, if the story had been
written by someone else, he should
direct it as he best understands the
flow. When Raj used to narrate the
story, Rameshji used to double up
with laughter and I used to be, like,
I might not laugh at the same joke.
So, I finally told them that I would like
to direct my own scripts. In fact, one
day, I asked Rameshji what kind of
film he preferred – one that becomes
an instant hit or one that becomes a
hit after four to five years and people
remember it for a lifetime? In the
end, I understand that they are also
producers. I narrated this script to him
so many times but he did not agree. I
have been narrating the story to many
people but no one connected with it.
BOI: Then…
KS: Then I discontinued the agreement
with them as I wanted to tell stories
that I wanted to. I write stories which
15
@BOI
are real; my stories always come from
the newspapers. I write stories that
reflect our society and what happens
in our society. We were never on the
same page, so I thought yeh toh galat
shaadi ho gayi. And I discontinued the
contract. But it was a mutual decision.
I can’t direct stories written by
someone else. I need to connect and
agree with the concept before I direct
it. Like Kya Kehna was by Honey Irani
and it was ahead of its time. But I felt
an urge to tell the story. I asked Honey
if she wanted to direct it because it
was her baby. While making the film,
we faced so many issues, people
had asked Rameshji to stop the
shoot midway as we might not have
recovered our investment, or we might
not get any buyers. But somehow
we all put our faith in the film and
went ahead with it. And it was highly
appreciated by the audience.
BOI: Meenakshi, tell us about your
journey and what it was like to work
with Kundan Shah. Did you feel the
pressure of being a debutante with a
central role?
MD: Totally! But it was a learning
experience. Initially, I was very nervous.
Ever since I signed on the dotted line,
it felt like I was in a boarding school.
It was very tough because I needed to
transform into that character. Learning
Marathi was not challenging but all the
other actors had a theatre background.
So I was very stressed and nervous
in the workshops. There were times I
wondered whether I would be able to do
it or not.
KS: (Cuts in) Yes, suddenly, my assistant
would come up to me and say that
Meenakshi was crying, and I used to
be, like, why is she crying? I would tell
her that she was there to work so she
should not cry as the film was all about
her. I used to say, ‘If you as the main
lead lose confidence, how will I direct
the film?’
MD: Exactly! That’s why I used to cry.
He used to be, like, ‘If you fail, the
film fails.’ So I was very nervous in the
beginning. But once I started to get
along with everyone and became stable,
16
everything was sorted. By the end, I
was a totally different person as I had
transformed into the character I was
playing.
KS: (Cuts in) That’s why I took so many
workshops. And during workshops, she
used to cry. We had so many theatre
actors. Eventually, with every passing
day, with script readings and workshops,
she grew.
MD: Then I understood that it is a
process. I don’t have any relatives or
friends in the industry and I have never
done theatre. So everything was new. I
had worked in South films but there we
do the shoot on sets. Here, there were
workshops, sessions... That’s why I was
scared. Later, I built my confidence.
We have tried to crack
a different strategy.
We are not looking
for a big release but a
concentrated release.
I mean, if a multiplex
chain offers me 800
screens, that wouldn’t
help as we are looking
for 350 screens.
– Dhaval Gada
BOI: Now that the film is ready, how
happy are you?
KS: I am very happy. We have all worked
hard. I waited for so many years for this
story to be told and it was only because
of Jayantilal Gada that I completed the
film.
BOI: Kundan sir, how has filmmaking
changed over the years?
KS: It is more risky and recovery is
very difficult. On the day PK released,
I was coming out of my building and I
saw a watchman watching the film on
his mobile. So piracy has increased,
people no longer go to cinemas or at
least people who can’t afford it. The
recovery window is now only three
days, which is a weekend. Today, it’s
no longer really about cinema; it’s more
about selling your product, about who
spends more on marketing. The good
thing is that good cinema is being
made and stories are changing. But
my point is, don’t make a product,
make cinema.
BOI: Will we see this association
going forward?
KS: (Laughs) It all depends on how
this film works at the box office.
BOI: Usually, directors start with
television and then take a leap to
films. But you seemed to have done it
the other way around?
KS: I do whatever gives me
satisfaction. When I made Jaane Bhi
Do Yaaron, I didn’t expect this kind of
response. People love watching it till
date. Then I was not getting anything
at par but I got to do amazing work
in television, like Nukkad and Wagle
Ki Duniya, which gave me creative
satisfaction. And they were instant hits
too. So I chose that route. And when
a script came along, I directed films
too. But television changed drastically
and it was no longer what I was used
to making.
BOI: Dhaval, you started at a very
early age. Kahaani was a turning point
but then Issaq and Mahabharat didn’t
work.
DG: I am learning on the job, every
day. Yes, Kahaani was a turning
point but then the other films didn’t
work. We knew we couldn’t be
overconfident. The audience doesn’t
like everything you offer them, so
one has to be very selective. Today
cinema is more about content. If
you have a good story, may not
be on Friday but the audience will
surely watch your film. That’s the
kind of faith we had in this story.
Box Office India
23 May 2015
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SPOTLIGHT
Piku’s Hidden Stars
Shoojit Sircar’s Piku is still running successfully at cinemas and is in its third week.
Obviously, Amitabh Bachchan, Irrfan and Deepika Padukone are cornering the limelight but
there are a few other artists whom we noticed – Balendra Singh, who played Budhan, the
manservant; Swaroopa Ghosh, who played the aunt; and cinematographer Kamaljeet Negi,
who captured the beautiful road trip. Here’s going behind the scenes with the trio:
 SOUMITA SENGUPTA
Acting By Chance
BALENDRA SINGH
BACKGROUND
I am from Madhya Pradesh’s Bhind
district and my father was in the Army.
Bhind was a dacoit-infected region
and it was not safe. So my school
teacher told my father it would be best
if we moved from there. So we shifted
to Bhopal, where I did my higher
education.
ACTING HAPPENED
COINCIDENTLY
This might sound shocking but while
growing up, I was not a cinema lover.
So becoming an actor was nowhere
in sight. Then, one day, a friend of
mine who was very active in theatre
dragged me to watch a play. He told
me I should join him in my free time
but I wasn’t inclined. But, gradually,
I developed an interest in theatre. I
think what interested me about it was
that I was a Hindi literature student in
college. Then, one day, Habib Tanvir
visited Bhopal with one of his plays.
After meeting him, I knew I would
make a career out of acting. It has
been 23 years since and I am very
happily doing theatre. I direct, act and
produce as well.
MOVIES ON MY MIND
I was so much into theatre that it never
crossed my mind to act in films or
television. I was happy doing theatre. But,
of course, every actor wants to reach out
to the maximum number of people.
ON PIKU
While doing theatre, I had met Jogiji
(Mallang), who too is very active
in theatre. He used to visit Bhopal
regularly for casting. He had told me
we would work together one day. True
to his word, he asked me if I could
audition for Budhan’s character, and
I did. Back in Mumbai, Shoojit Sircar
liked it and that’s how I bagged the
role in Piku. It was nothing less than
a dream. I have grown up watching
Amitabh Bachchan and I got to do my
first film with him, and I am on screen
almost all the time.
ON BRIEF ABOUT HIS
CHAR ACTER
Shoojit is a very sorted director. He
explains the role you’re playing and
describes why the character is the
way it is. He gives you a background
so that you get into the skin of the
character. The first brief about my
character was, ‘Muh laga sevak’, who
is very close to his daadu (Amitabh
Bachchan). It’s a house where
everyone fights with each other but
the sevak is always by his daadu’s
side, listening to all his stories. In fact,
his day is not complete if his daadu
doesn’t scold him.
CHALLENGES
FACED
Budhon is a very simple man and I
did not face any challenges. I guess
the most challenging part was being
on screen a whole lot but not having
much to say. And when you do speak,
your lines come like a phataka. He is
an innocent guy but when Piku asks,
‘Who will do the household chores
now?’ and Daadu says, ‘Budhon hain
na,’ he says, ‘Jab maaji laayi thi tab
boli thi hum izzaddar kaam karenge.’
So he makes his point very clear.
WORKING WITH BACHCHAN
My first shot was with Amitji
(Bachchan) and I was very nervous.
I had done readings with Deepika
(Padukone) and Irrfan. But meeting
the legend gives you goose bumps.
So during the first take, I was very
nervous about how he would react.
Shoojit introduced me to him and he
made me so comfortable that from the
very first day it felt like we were part of
a family.
ON RESPONSE
The response has been overwhelming.
I am getting so many calls from all
over India, where people are
appreciating my work. It’s a very good
feeling. I have also received a few
offers from some directors.
After Amitabh, Next SRK!
SWAROOPA GHOSH
BACKGROUND
I belong to a Bengali family, hence
the arts are in my blood. My father
18
was into theatre and that’s how I was
connected to theatre since childhood. I
was introduced to theatre by my dad and
initially learnt all the backstage work. My
first act happened by chance when the
leading lady of a play got pregnant and
Box Office India
23 May 2015
had to opt out. I stepped in and that’s
where my journey in theatre began.
GROWING WITH ACTING
I was 17 years old when I did my first
play. It has been 34 years since then
and I have been doing theatre, teaching
acting, teaching deaf kids and learning. I
was also in the Repertory of the National
School of Drama, which I bagged with
Saurabh Shukla. That year, only the two
of us got through.
TELEVISION CALLING
Earlier television meant one had to move
to Delhi. So while I was there, I worked
on shows like Hawas, Adalat and a few
more. These were not daily shows so I
didn’t get stuck with one character. But I
never went all out to do only television or
films.
ON VICKY DONOR
I knew Jogiji (Mallang) from my theatre
days. Once I was doing a play in Mumbai
when Jayant Das (who played my brother
in Vicky Donor) told me that Jogi had
seen my play and loved it. Then I met
him but Jogi told me I should give an
audition for this film. I gave the audition
and got a call from Shoojit Sircar for
the film. We bonded so well that I also
did Madras Café, where I was the only
woman officer. It was a totally different
role from the one I did in Vicky Donor.
ON PIKU
During Vicky Donor, I became very
close to writer Juhi Chaturvedi. After
the film, we kept in touch and she
told me she was writing a script and
thought I suited the role but it was
finally up to Shoojit. Once again, Jogi
asked me to audition for the role.
Having worked for such a long time,
I have developed a certain approach
towards my craft. I don’t pick up similar
roles. I was doing television, which
was episodic. I did some German films
because they were totally different. I
did Piku as I thought I could do justice
to my character.
ON BRIEF ABOUT HER
CHARACTER
The brief given to me by Shoojit
was that she is the aunt and
doesn’t get along with Moushumi
Chatterjee's character. He also said
she is someone who is constantly
working. She never sits by herself
and always roams around in a maxi.
She is not insecure but not very
financially stable. There is a mutual
understanding between Amitabh
Bachchan because she belongs to his
family. The rest was up to me.
TURNING POINT
I got recognition with Vicky Donor
so I will say that Vicky Donor was
the turning point of my career. But
after waiting for more than 30 years,
I finally got to work with Amitabh
Bachchan. My other dream is to work
with Badshah of Bollywood, Shah Rukh
Khan!
ON RESPONSE
The response has been outstanding.
Everyone is calling me and
appreciating my work. This happened
after Vicky Donor too but I believe I
had more to deliver in Piku.
Hitting The Road
KAMALJEET NEGI
BACKGROUND
Before starting out as a
cinematographer, I worked as reporter,
researcher, assisted directors for
television documentaries, and features
on socio-economic issues in Delhi. The
production house I was working with
asked if I was interested in camera
work. I was always interested in
photography therefore I grabbed the
opportunity. I was asked to a shoot
profile of Phoolan Devi, the real one. I
made sure I knew my camera very well
and spent time doing my homework.
It was a nervous assignment but
a thrilling one. My flair for visual
storytelling helped me. That was my
first actual project. Then I started
shooting a lot of art and cultural shows
in Delhi along with documentaries.
BRIEF BY SHOOJIT SIRCAR
After going through the script I found
the script to be very potty favouring.
It was full of dialogues discussing our
bowel movement, which while reading
I wondered how audience will receive
it. But when I saw the scenes getting
executed I thought it was really funny.
Actors like Amitji (Bachchan), Irrfan
and Deepika Padukone brought real
23 May 2015
Box Office India
good energy with healthy humour to
the film which Indian audience hardly
gets to see. Shoojit wanted the film
to be very real and dynamic. So we
decided to shoot the film in such a way
that the audience feels they are part
of the scene. Therefore the decision
of using two cameras at all the time
was taken. We didn’t want to miss any
action or reaction. Shoojit set up the
scenes like a play on the stage and
we placed the cameras accordingly
without interfering the actors. I lit up
the house according to the situations
taking cues of the time of the day.
We kept the feel of Delhi home to be
slightly on tighter lenses, sometime
mid white shots but never wide shots.
Depicting the emotional status of the
protagonists slightly mundane and
boring.
As soon as the journey starts the
lives of our protagonists also opens
up emotionally. They start to enjoy
the moment of life singing along - life
song. Kolkata also opens up into lovely
wide shots. And always remain fresh in
colour and texture too.
SHOOTING THE ROAD TRIP
Shooting the journey was exciting
part for me the
films best part is the
journey. Lot happens in the journey. It
was challenging for us too. Shooting
with three cameras with anamorphic
lenses was not easy. We managed it
after lot is discussions on the angles
and lenses after shooting some tests
before we went to shoot the journey
part. It is the crucial part of the film
emotionally/ photographically and
physically it was supposed to be tiring
for actors as well as crew behind the
cameras. Production control should
be given praised here for controlling
and planning the shoot in such a way
that it didn’t get interrupted- given the
stars we working with.
ALL THREE STARS WERE A
LAUGH RIOT TOGETHER
Amitabhji (Bachchan) I had worked a
lot in last few years on TV commercials
and Bhootnath Returns. Yet it’s always
a delight to see him on set with new
energy and enthusiasm. Irrfan is
amazing with his improvisation- would
surprise us with it and would really
work for the scene. Deepika was
always co-operative till she would be
satisfied with her performance.
19
WHAT: Deepika Padukone Hosts Piku’s Success Bash
Deepika
Padukone
Shah Rukh
Khan
Farah Khan and
Ayan Mukerji
Shoojit Sircar
and Irrfan
Anurag
Kashyap
Kalki
Koechlin
Kangana
Ranaut
Arjun
Kapoor
Ranveer
Singh
Sidharth
Malhatora
Sushant Singh
Rajput and
Vikas Bahl
Alia Bhatt
Sanjay Leela
Bhansali and
Shabinaa
Vishal
Aditya Roy Madhu
Abbas-Mustan Kapur
Bhardwaj Khan
Mantena
Huma
Qureshi
Zoya Akhtar and
Karan Johar
Siddhartha Basu
with wife
Homi
Anita Kaul
Adajania
Arbaaz
Khan
WHAT: Tanu Weds Manu Returns Special Screenings
Kangana
Ranaut
Aanand L Rai
Goldie Behl and
Sonali Bendre
Vishal
Bhardwaj
Masaba Gupta Nitesh Tiwari
and Madhu
with
Mantena
Ashwini Iyer
R Madhavan
Vikas Bahl
Jimmy
Sheirgill
Krishika Lulla Irrfan
Tigmanshu and
Tulika Dhulia
Riteish
Deshmukh and
Rajkummar
Genelia
Rao
D’souza
Deepak Dobriyal,
Preity Zinta and
Mukesh Chabbra
Darshan
Kumar
Smita
Thackeray
Bhushan
Kumar
Sunil Lulla
R Balki and
Gauri Shinde
Ritesh Batra
Siddharth Roy
Kapur
Farah Khan and
Shirish Kunder
Dinesh Vijan
Huma Qureshi
Rajkumar
Hirani
Hansal Mehta
Nikhil Advani
Rekha
Bhardwaj
WHAT: Azhar Teaser Launch
Emraan Hashmi
20
Ekta Kapoor
Mohammad Azharuddin
with his son Asaduddin
Tony D’souza
Pictures: Yogen Shah
PARTY
Yes, whenever I have the time, I attend parties. I like to unwind, especially with friends.
I don’t attend filmy parties but those of my close friends
Sneha Rajani
Box Office India
23 May 2015
Chaotic Melange
Welcome 2 Karachi
Banner: Puja Films
Producer: Vashu Bhagnani
Music Director: Rochak Kohli,
Jeet Gannguli and Amjad Nadeem
Lyrics: Rochak Kohli, Ravi Singhal,
Kausar Munir, Sameer Anjaan
Label: T-Series
T
he quick promos of Vashu
Bhagnani’s upcoming comic
caper Welcome 2 Karachi,
starring Arshad Warsi and Jackky
Bhagnani, are already tickling the
funny bone. And to do justice to the
plot of the film, the makers have
enrolled three music directors to
compose the soundtrack. We gave
the album a listen to find out whether
the amalgamation of these differently
spaced composers succeeded in
offering entertaining music.
After Johnny johnny (It’s Entertainment),
Lalla lalla lohri is another song that gets
classic lullaby treatment. The song, sung
by Vishal Dadlani and Shivi, is filled with
Punjabi beats and is further infused with
the club beats. The four-minute dance
number turns out to be quite chaotic and it
is difficult to listen to the vocals. But thanks
to its heavy beats, the track might find a
place in the club playlist. While Johnny
johnny succeeded in avoiding the critics’
gaze, Lalla lalla lohri isn’t quite as lucky as
the song sounds more tumultuous than
melodic.
Suiting the flavour of the film, Boat
ma kukdookoo is yet another quirky
track. Sung by Mika Singh, Shivi, Deane
Sequiera and Rochak Kohli, it’s once
again a heavy-beat dance number. It
seems like a continuation of an earlier
track with the inclusion of Gujarati folk
beats as an intrusion. Unlike the earlier
track, this song features a mix of Gujarati
and club beats.
Shakira, the on-going promo track of
the film, is sung by Shalmali Kolghade
and has been composed by Jeet
Gannguli. An unusual track from the
melody maker, the composer has played
with Arabic tunes in this dance number.
The track has an ‘80s flavor, offering
a taste of RD Burman-style music.
Kolghade’s vocals suit the heavy beats of
the song.
Following the success of Bhaag dk
bose, G phaad ke, lyricist Sameer
Anjaan has tried to play on the current
trend with the last song, Chal bhaag.
Composed by Amjad Nadeem, the
musical treatment is fast-paced and
is mainly based on guitar riffs and
club beats. The lyrics aren’t all that
impressive, but the music is entertaining
and suits the plot of the film. The vocals
of Wajid and Love Juneja compliment the
heavy beats.
Verdict: A mediocre compilation of
dance numbers
– Swagata Panjari
Making A Melody
D
uring our first sitting, Maheshji
(Bhatt) told me that he would
not be providing a situation for
the music. “He asked me to simply feel
the story and compose the music,” says
Jeet Gannguli, on the making of the
Hamari Adhuri Kahani soundtrack.
The composer came up with the cross
line Hamari Adhuri Kahani, which was
immediately approved by director Mohit
Suri and producer Mukesh Bhatt. The
track was later built on the base of those
lines. The title track of Emraan Hashmi
and Vidya Balan has already succeeded
in attracting more than two million views,
on the day of it’s release. The romantic
melody is said to have three versions –
one is sung by Arijit Singh, the other two
are crooned by the composer himself.
Gannguli has strayed from his regular
composition, which is mainly based
on guitar tunes and instead is heavy
on the flute and the violin. “I make
music based on the movie and this
film is a very emotional film. I had to
evoke the right emotions that would
suit the character. As the whole movie
is based on the title track, Suri wanted
different versions. I have sung two
versions while the third one is sung by
Arijit, who has beautifully captured the
essence and the emotion of the story.
The track is not your regular melody.
23 May 2015
Box Office India
We were sceptical about the audience
response but the response has been
phenomenal,” he says.
Commenting on the response, the
composer states that songs like Hamari
Adhuri Kahani and Aashiqui 2 prove
that good melodies work and overturns
the notion that the audience longs for
quirky songs.
Gannguli has also composed another
track, Yeh kaise jagah le aaye, where
he has introduced newcomer Deepali
Sathe. He says he is impressed with
Sathe’s vocal prowess and hers is one
of the names on his ‘future stars’ list.
he says he feels that after Aashiqui 2
and Khamoshiyan, opportunities for
upcoming musicians are increasing.
Like Sathe, Shivi has been yet another
singer that Gannguli has great hopes
from. Shivi has sung Lalla lalla lohri
and Boat ma kukdookoo from Vashu
Bhagnani’s upcoming comedy film
Welcome 2 Karachi. The soundtrack
of the film also features a dance track
Shakira composed by Gannguli. The
composer states that he tried to bring
in a different feel into the track by
employing Arabic tunes in the dance
number and giving it a classic touch.
Apart from this, the melody maker is
also composing two tracks for Bhushan
Kumar’s Junooniyat. While one is the title
track, the other is a romantic song. The
title track is composed in two versions
featuring singers Sriram and Shiv, for
each of the versions. While the composer
has been part of several multi-composer
projects, he has composed the entire
album for Kunal Kohli’s film Phir Se. The
composer states that it is a family-oriented
film and the music captures the essence
of the film. He has enrolled singers such
as Shreya Ghoshal, Palak Muchhal,
Mohammed Irfan, Mohit Chauhan and
Nikhil D’Souza for the album.
He says that composing a full-fledged
album allows a music director to relate
to the essence and the plot of a film.
“A composer can relate to music and I
feel can do justice to the album when
it’s handled by one composer. But
multi-composers are quite acceptable in
the industry and there is nothing wrong
with that either as it offers variety in an
album,” Gannguli adds.
– Swagata Panjari
21
SOUND BOX
Music is very important because we Indians are emotional and we connect every emotion with music.
Whether sad, happy or when someone is getting married, we have songs for every mood.
ON LOCATION
Just For Laughs
When Punjabi superstar Gippy Grewal decided to foray into Hindi films, he
could think of none other than Smeep Kang to helm the venture. Grewal and
Kang had worked together on four Punjabi films, and now they are excited
about their upcoming Hindi movie, Secondhand Husband, which also marks
Kang’s debut in the Hindi film industry. The movie also features Dharmendra
and Tina Ahuja. We were invited to spend a day on the sets, for a peek into
this rib-tickler
Q ROHINI NAG
C
omedy is a sure-shot recipe for
a successful film, and when you
have Punjabi superstar Gippy
Grewal marking his debut with comedy
king Govinda’s daughter Tina Ahuja,
you have everything you need for a ribtickler that everyone will enjoy. That’s
exactly what the makers of Secondhand
Husband are hoping for.
When you walk onto the sets of
the movie at Kamalistan Studio, you
might as well be in Jalandhar, Punjab.
There is also much hullaballoo as an
edgy Smeep Kang, the film’s director,
discusses a scene with Gippy Grewal.
Calm yet anxious, Grewal is all set to
deliver his next shot in the excruciating
Mumbai heat. “This week, we will wrap
the entire shooting of the film. This is
our last leg and, in a way, most of us
are foraying into Hindi films together.
22
So we are nervous but in a good way,”
says Grewal.
The actor then escorts you to meet
the crew. Introductions are in order
and you shake hands with Kang and
cinematographer Manoj Shaw. It’s a
warm but brief welcome as everyone is
keen to take their places on the sets.
Suddenly, there’s pin-drop silence as
Dharmendra, who plays a pivotal role in
the film, walks onto the sets. But today,
he is not shooting; he’s here to meet
Grewal. The air is rife with enthusiasm,
synergy and anticipation. The veteran
actor takes his seat near the monitor.
“Gippy is like family and I love his films.
When he told me about his Hindi debut,
I told him I wanted to be a part of the
film too. I have worked with Gippy and
Smeep in a Punjabi film Double Di
Trouble, so I know how they work and I
am very comfortable working with them.
Tina is a sweet child; she is a natural in
front of the camera. I am sure people
will love her in the film,” he says with his
trademark charming smile.
We chat with newcomer Tina Ahuja,
who is just about ready for her shot.
“I was drawn to this film as I had seen
Smeep sir’s film Carry On Jatta and felt
it was one of the best films I had ever
seen. I told my friend that I wanted to
meet this director. He told me he was
planning to make a Hindi film and I was
finalised for Secondhand Husband.”
Ahuja confesses she was very nervous
to work with Dharmendra “as he is my
father’s favourite and is a legend in
every sense”. The budding actor says,
“My first scene with him was in a car
and I kept on going back and forth
from my vanity van to the sets as I was
Box Office India
23 May 2015
very nervous. I prepared for the shot
and just as we were to begin, Dharam
ji suggested that I do the scene in a
different way. I was scared as I had
already prepared for it. But he is the
sweetest co-star to have and he made
me very comfortable.”
The ambience on the sets is very
warm. “The same team works with
us for our all Punjabi films. So you
could say this is a debut for all of us.
Being Punjabi, it is in our nature to be
amicable and so you can see our team
is very jovial,” laughs Kang.
It’s time for lunch and while everyone
is heading for a bite, Grewal greets
Dharmji and asks if the shot was
perfect. “I wanted to make my debut
to Hindi but with the kind of films I am
known for. I didn’t want to upset my
Punjabi audience only so that I could
make a Hindi film. When we decided to
make this film, we were looking for an
actress who would do justice to the part
as there is a certain kind of simplicity to
the character. Luckily, we got Tina to be
a part of the film and it is her first film
too. And with Dharam ji being a part of
our film, we are just very lucky. He is a
great actor and even a greater human
being.” says Grewal.
Dharamji’s presence on the sets is
like a cameo. He chats with Grewal
and the team for a few more minutes
before he leaves. “Times have
changed. Earlier, we never had to
promote our films and now after the
film is ready, you need to promote it.
I think things are better now, they are
more systematic. I am looking forward
to promoting this film as it is a family
entertainer and a film that I believe in,”
says Dharmendra, before leaving.
So what made Kang choose
Secondhand Husband as his launchpad
along with Grewal, for Hindi films?
“Like every regional film director, I too
wanted to foray into Hindi films. I am
grateful to Gippy for giving me this
opportunity. He is a wonderful actor
and he understands the kind of films I
believe in. Secondhand Husband is a
family film. It has clean comedy and I
am very happy with the way each actor
has played their part.”
23 May 2015
Box Office India
Kang adds, “Dharamji is exceptional
to work with and, as a director, he
let me have my space and was very
supportive of what I wanted out of his
character. Tina is a fabulous actor and
she understands comedy. It is very
important for an actor to know where to
draw the line when it comes to subtle
comedy. It is art she has inherited from
her father.”
On his co-star, Grewal says, “She is
beautiful and a very talented actress.
Before starting the shoot, I had assumed
she would take time to warm up but she
arrives two hours early so that she can
get ready before the shoot.”
Next, you’re escorted to Ahuja’s vanity
van for a brief chat. “It was solely my
decision to take this project and when
I told my father that I was doing this
film, he said he believed in my choice
and that was it. This is his kind of film
where comedy comes naturally. In fact,
it was my cousin Krushna Abhishek
who helped me with the character. He
told me that I should just let it come
naturally and I did just that. I connected
with the character as I believe every girl
is a princess in her own right and that’s
how my character Gurpreet is. She is
extremely naïve and sweet.”
But, she adds, the biggest challenge
about playing this part was that her
character required her to gain weight.
“I play a typical Punjabi girl who is
pampered by her family, and I couldn’t
play that kind of character without
looking a little plump. But I have to lose
weight for the promotions and it is much
harder than gaining weight,” she smiles.
The schedule is tight and there’s little
time for chit-chat. There’s a knock at the
door and it’s back to the sets. There’s
no break till the day is done. Once the
schedule is completed, Grewal is in the
mood to chat some more.
Ask him what the USP of this film is
and he pauses before saying, “This is
the kind of comedy that works in the
Punjabi film industry. The only difference
here is that it’s in Hindi, which caters to
a wider range of people. When I heard
the story, I knew this should be my Hindi
debut film as the flavour of the story is
Punjabi but with the kind of humour that
appeals to all kinds of people. Smeep
is the kind of director who usually has
a lot of characters in his films but each
character has a crucial role.”
Quiz him about how the film was
conceived and how it is shaping up and
Grewal says, “Our producer Amolak
Singh Gakhal is from the US and met
me via some common friends and said
he wanted to produce my next Punjabi
film as he was a huge fan of my work.
I was a little apprehensive at first as
we get a lot of interest from outside the
industry, people who want to produce,
but not many are legit. I told them that
I am planning to make a Hindi film and
he said he would love to producer it.
He was on board just like that even
though he had no knowledge how film
production works.”
Grewal adds, “After he saw some
rushes of the film, he was very happy
with the way the film had shaped up.
He wanted to go all out to give our
film the best utilities that a Hindi film
would need. I think it was after that
that they actually thought of filmmaking
as a business and not just a one-time
thing. So right from our distributor, Anil
Thadani of AA Films, to our Publicity
Designer Himanshu Nanda, our team is
only growing stronger.”
Produced by Amolak Singh Gakhal
under his banner Gakhal Productions,
Secondhand Husband also features
Rati Agnihotri, Geeta Basra, Gurpreet
Ghuggi, Sanjay Mishra, Vijay Raaz,
Mukesh Tiwari and Deepshika Nagpal.
The hours whiz by and soon it’s time to
wrap. Tomorrow, everyone will be back
at the studio. But that is another story!
23
News, analysis and results from North America
www.BoxOffice.com
NO SEQUEL POTENTIAL? THAT’S FINE.
Two of July’s most promising titles (probably) won’t spawn follow-ups
TRAINWRECK
This article is not intended to bash the
mentality that produces global hits. Far
from it. 2015 will likely give birth to six
new members of the $1 billion club—all
of which will be franchise titles—and I
think that’s great.
With that said, it’s always refreshing to see a
fair amount of films released throughout the year
that don’t have franchise potential. A story that
can finish up in two hours or so without needing
another installment is a great thing. Sometimes it’s
best to let our imaginations fill in what will happen to characters once the credits hit and we’re cut
off from their world.
Looking at July, I see two titles with plenty of
potential that won’t lead to sequels: Trainwreck
and Paper Towns.
Trainwreck is poised to be one of 2015’s biggest
breakout hits. Star Amy Schumer is on fire thanks
to the popularity of Inside Amy Schumer, a great
show on Comedy Central that has no problem
getting video clips to go viral. The first trailer for
Trainwreck has been a big hit on Facebook and
Twitter thanks to Schumers growing clout as well
as a scene-stealing appearance by LeBron James.
Trainwreck also seems to have revitalized director Judd Apatow after back-to-back critical and
commercial failures: Funny People and This Is 40.
Apatow is no stranger to helping launch careers to
new heights, and it looks like he’s helped Schumer
start what’s bound to be a very lucrative film
career. Sure, if Trainwreck is huge it’s always possible that there could be a Trainwreck 2. Never rule
that out completely. But we have a feeling that
Schumer will take a page from Kristen Wiig’s book
if that happens and just
say “no.” Wiig easily could
have taken the money and
pushed forward with Bridesmaids 2, but she opted to
pick other projects that have
challenged her as an actress
like The Skelton Twins and
Welcome to Me. I can’t wait
to see what Wiig will do
in Paul Feig’s Ghostbusters
reboot. Schumer’s brand of
humor is certainly different
than Wiig’s, but she has the
potential to succeed in the
same way.
Paper Towns looks like it
will further cement author
John Green’s growing
reputation as the “new John
Hughes.” An adaptation of
Green’s The Fault In Our
Stars turned into a sizable
global hit last summer and helped the author’s
fanbase grow in the process. While Paper Towns
isn’t the tearjerker that Fault was, it’s got a massive
following thanks to a book that’s still selling very
well. Paper Towns stars Natt Wolff and Cara Delevingne, two young stars who have very promising careers ahead of them. Paper Towns could be
the movie that we look back on 15 years from
now when discussing how Wolff and Delevingne
became so big. We obviously haven’t heard the last
of Green either.
The importance of films like Trainwreck and
Paper Towns is not to be underestimated. This is
a 24-7-365 business, and while patrons devour
tentpoles for a good portion of that time, they also
crave content that surprises in a good way. Luckily,
we have no shortage of filmmakers and stars who
continue to do just that.
PAPER TOWNS
24
BXIndia_May23.indd 2
MAY 23, 2015 BOXOFFICE
5/21/15 12:52 PM
BXIn
52 PM
PITCH PERFECT 2
TOP 10 GROSSING FILMS IN NORTH AMERICA
TITLE
(Distributor)
Weekend of May 15–17, 2015
WEEKEND
GROSS
(U.S. Dollars)
LOCATION LOCATION CUMULATIVE
COUNT AVERAGE
GROSS
1 PITCH PERFECT 2
$69,216,890
3,473
$19,930
$69,216,890
2 MAD MAX: FURY ROAD
$45,428,128
3,702
$12,271
$45,428,128
3 AVENGERS: AGE OF ULTRON
$38,859,900
4,276
$9,088 $372,030,708
4 HOT PURSUIT
$5,722,488
3,037
$1,884
5 FURIOUS 7
$3,648,980
2,238
$1,630 $343,782,475
6 PAUL BLART: MALL COP 2
$3,543,850
2,632
$1,346
$62,872,860
7 THE AGE OF ADALINE
$3,129,455
2,623
$1,193
$37,001,624
8 HOME
$2,554,959
2,006
$1,274 $165,501,901
9 EX MACHINA
$2,093,669
1,718
$1,219
$19,556,131
10 FAR FROM THE MADDING CROWD
$1,251,923
289
$4,332
$2,582,570
TOP 10 GROSSING FILMS IN UNITED KINGDOM
TITLE
(Distributor)
Weekend of May 15–17, 2015
WEEKEND
GROSS
$23,446,781
(U.S. Dollars)
LOCATION LOCATION CUMULATIVE
COUNT AVERAGE
GROSS
1 PITCH PERFECT 2 (Universal)
$7,896,510
496
$15,920
$7,896,510
2 MAD MAX 4: FURY ROAD (Warner Bros.)
$7,160,621
546
$13,115
$7,160,621
3 THE AVENGERS: AGE OF ULTRON (Disney)
$2,621,921
521
$5,032
$66,522,449
4 SPOOKS: THE GREATER GOOD (Fox)
$842,191
421
$2,000
$3,262,457
5 FAR FROM THE MADDING CROWD (Fox)
$631,933
476
$1,328
$7,267,460
6 ROYAL NIGHT OUT (Lionsgate)
$475,940
333
$1,429
$490,519
7 HOME (Fox)
$397,942
483
$824
$34,152,037
8 UNFRIENDED (Universal)
$395,075
361
$1,094
$5,099,103
9 FURIOUS 7 (Universal)
$354,916
315
$1,127
$56,789,660
10 THE AGE OF ADALINE (Entertainment)
$305,256
338
$903
$1,711,278
NORTH AMERICAN GROSSES FOR INDIAN FILMS
as of May 17, 2015
(U.S. Dollars)
TITLE (Distributor)
PIKU (Yash Raj)
GABBAR IS BACK (Eros)
MAY 23, 2015 BOXOFFICE
BXIndia_May23.indd 3
GROSS
LOCATION COUNT
$1,801,806
117
$534,601
107
FACEBOOK & TWITTER TRACKING FOR INDIAN FILMS
Weekend of May 15–17, 2015
FACEBOOK “LIKES”
TITLE (Distributor)
PIKU (Yash Raj)
NEW
6,508
TOTAL
TWEETS
283,529
28,607
25
5/21/15 12:52 PM
AWAY & BEYOND
I would love to but I usually don’t get the time as I am busy shooting or rehearsing
International Filmfest
Emden-Norderney
JUNE 3-10, 2015
GERMANY
WHAT’S IT ALL ABOUT?
The 26th edition of the International
Filmfestival Emden-Norderney has
established an audience for true-to-life and
story-driven films. Founded in 1990, the
festival is located close to the UNESCO
Wadden Sea World Heritage site in the
North Sea. IFF Emden-Norderney is
also one of the highly-regarded meeting
places for numerous representatives of the
German and North-West European film
industry.
The festival’s main focus is on current
feature-length productions and shorts from
northwestern Europe. It has presented
more than 100 films on eight screens, by
filmmakers from all over Europe.
The programme of films includes new
films from German-speaking countries,
portraits of directors and actors,
international highlights and discoveries as
well as short films, and is completed by a
programme of children’s and family films.
WATCH OUT FOR!
Opening Film:
Mr Holmes
The plot revolves around a 93-year-old,
long-retired private detective Sherlock
Holmes. He stays in his house in Sussex
where he tends to his bees and bickers
with his reclusive housekeeper Mrs
Munroe. His physical and mental abilities
are rapidly deteriorating, a nightmare
for the once sharp-witted master of
combination. Looking back at his life,
Holmes is haunted by fleeting images of
his last case, which concerns a young
and beautiful woman whose life came to
a tragic end. It is only with the help of his
housekeeper’s young and quickwitted son
Roger that Holmes finds new joy in life and
is able to confront the demons of his past.
Feature Films
The feature dramas will also include films
relating to children. The list is as follows:
•Little Raven 2 - The Great Race
•Shaun The Sheep - The Movie
•Doctor Proctor Pupspulver
•Rico, Oskar And The Herzgebreche
•About A Girl
•A Gift From The Gods
•Citizen Four
•Heart Of A Lion
•Selma
•Novemberkind
Mr Holmes
Shaun The Sheep-The Movie
The festival will end with the Engelke
Short Film Awards presented by Sparkasse
Emden. The winning film will be screened
as the closing film of the festival.
Awards & Felicitations
The festival features an extensive
programme that is supplemented by
workshops, film conversations, talk shows
and gala events for the opening and
awards ceremony. A sum of € 50,500 is
awarded during the course of the festival’s
film competitions where winners will be
decided by the audience. The Screenplay
Award, which amounts to € 12,000, will be
decided by a selected jury of experts. This
year, producer Alicia Remirez and actor
Maxim Mehmet has joined the panel of
jurors nominated by the Grimme Institute.
In addition, the DGB Film Award for a
socially relevant film (€ 7,000), the NDR
Film Prize (€ 5,000), the AOK Film Prize
(€ 5,000), the Creative Energy Award
Novemberkind
(€ 5,000), the East Frisian Short Film
Award (€ 4,000) and Engelke Short Film
Prize (€ 2,500) will be awarded.
Anna Maria Mühe will be honoured
with the Emden Drama Award with a
cash price of € 5,000 for her outstanding
acting performances in films such as
Novemberkind, Alias Luna and Love
In Thoughts.
– Compiled by Swagata Panjari
TOUR GUIDE
Air
Visa
Hotels
EGYPT AIR
SCHENGEN VISA
REQUIREMENTS
•Valid passport
•Biometric details
•Confirmed air ticket
•Two passport-size photographs with white background
•Hotel booking details
•Cover letter
•Bank account details
•Proof of accomodation
COURTYARD MIDDLETOWN
Mumbai – Abu Dhabi – Amsterdam – Abu Dhabi – Mumbai
BOM ÚAUH ÚAMS
AMSÚAUH ÚBOM
Fare: ` 55,922
JET AIRWAYS
Mumbai – Paris – Amsterdam – Abu Dhabi – Mumbai
BOM ÚCDG ÚAMS
AMSÚAUH ÚBOM
Fare: ` 55,952
26
Upstalsboom Parkhotel
Friedrich-Ebert-Straße 73,
26725 Emden, Germany
+49 4921 8280
GOLDENER ADLER
Neutorstraße 5,
26721 Emden, Germany
+49 4921 92730
Box Office India
23 May 2015
Ashish R Mohan made his debut with
Akshay Kumar-starrer Khiladi 786.
Now the director is all set with his
second venture Welcome 2 Karachi,
which had a roller-coaster ride while
it was being made. With the film all
set to hit cinemas, Mohan talks to
Soumita Sengupta about his journey
How was the idea of the film conceived?
This may sounds really strange but
whenever I look at the sea, I wonder
what lies at the other end? Somehow,
I always think the opposite seashore is
Karachi. One day, while sitting with my
writer-friend Kushal Ved Bakshi, we were
discussing a story where two Indians
cross the sea and reach Karachi without
passports. What happens to them?
Then I came up with the title Welcome
2 Karachi. I tossed the concept to many
people and they liked it. This film is a
satire on global politics. It shows how the
common man is used by political parties
for their personal agenda.
Did you approach the stars even before
writing the screenplay?
Yes, I discussed the idea with Irrfan
and he loved the concept and asked
me to work on the screenplay. I kept
him updated with the story and the
developments of the film.
Was it easy to create a story based in
Karachi, and write the screenplay?
I wanted to visit Karachi before I started
the film but everything happened so fast
and I couldn’t. Then I met Vrajesh Hirjee,
who had just come out of the Bigg Boss
house. I narrated the story to him and he
wanted to contribute to the film. He is well
versed in world politics and is also great
with comic timing. I asked him if he could
write the dialogue and help me with the
screenplay. That’s where the information
on Karachi came from. This is not a
politically serious film; it’s a comedy.
How did Arshad Warsi come on board?
Arshad sir and I go back a long way.
I have worked with him on four films,
where I was an assistant director to Rohit
23 May 2015
Box Office India
Shetty. I also knew no one could do
comedy like he can! When I narrated the
script to him, he loved it and instantly
said yes.
Jackky Bhagnani came on board at very
short notice. How did you manage to
change everything so quickly?
I didn’t write the character keeping
Irrfan in mind. He liked the character,
we wrote the film like a two-character
story. So it was not difficult; we mainly
had to change the age of the actor and
in the film, Jackky literally acts his age.
As writers, we write a story, write the
dialogue, and then the actors take charge
of the characters. What also helped us
was that since I had approached Vashuji
(Bhagnani), Jackky was already a part of
the film as a creative producer. So he was
familiar with the circumstances and the
script. Thus, getting into the character
was not difficult for him.
And what about his Gujarati accent? Did
that happen on the sets?
Vrajesh Hirjee, our writer, is Gujarati,
so the essence of the script is Gujarati.
During the script-reading sessions,
we thought why not add it to Jackky’s
character? He picked it up instantly on
the sets and worked on his diction.
You also have some Pakistani actors in
your film. Was it difficult to convince them
to say some of the lines which parody their
country?
No, I had told them about those lines
in the very beginning. And we changed
those lines that might have hurt the
sentiments of their country. We are not
targeting Pakistan in the film in any way;
we are talking about the politics of both
countries. So if we say politics ne kharab
kiya, both countries will relate to that.
Everything was done in good humour.
In fact, they helped us create Karachi in
the United Kingdom. They also gave us
some inputs like what a rickshaw looks
like in Karachi, what we should write on
the hoardings, what the streets of Karachi
look like. They added those little nuances
to the script.
You recently travelled to Karachi. What
was the experience like?
It was an outstanding experience.
I wanted to shoot in Karachi but I
couldn’t take that risk. That’s why we
recreated Karachi in Indore and in the
United Kingdom. But I wanted to visit
the city to see if I had done justice to
it. Karachi is a pure city, very similar
to Mumbai. My characters in the film
reach Pakistan and how they meet
Taliban militants and how their journey
unfolds takes the story forward. So I
went to a city called Manghopir, which
was an amazing experience. The people
welcomed us so warmly only because I
was an artist from India. The music of
my film has become a huge hit there
and I heard it playing everywhere.
The trailer of our film released with
Gabbar Is Back in Pakistan, so there
was curiosity among the audience there
as well as due to the title, Welcome 2
Karachi. After visiting the city, I know I
have done justice to the film.
Are you nervous because, as they say, your
second film is more important than the
first as it decides whether you will get your
third film or not?
I agree! But I am not nervous because
I have worked very hard, my team has
worked even harder. Ab teer kamaan se
nikal chukka hain.
27
IN NEWS
Carry On
Laughing
WORLD CINEMA
I watch them when someone recommends a really good film.
Date Of
Release
Country/Language Movie/Genre
Cast
Director
First Weekend
May 9, 2015
Japan (Japanese)
Nounai Poison Berry Poison Berry In My Brain
(Comedy)
Yoko Maki, Yuki
Furukawa,
Hidetoshi Nishijima
Yuichi Sato
Opened at 830 theatres with
the screen average of $ 6,638
Total: $ 55,09,149
May 13, 2015
France (French)
La Tête Haute – Standing
Tall (Drama)
Catherine Deneuve,
Benoît Magimel,
Sara Forestier
Emmanuelle Bercot
Opened at 315 theatres with
the screen average of $ 7,005
Total: $ 22,06,574
May 14, 2015
South Korea (Korean)
Akui Yeondaegi - The
Chronicles Of Evil
(Action/ Drama)
Son Hyun-Joo, Ma
Dong-Seok,
Daniel Choi
Baek Woon-Hak
Opened at 219 theatres with
the screen average of $ 15,827
Total: $ 34,66,157
May 14, 2015
Brazil (Portuguese)
Divã A 2 - In Therapy 2
(Comedy)
Vanessa Giácomo,
Mariana Brassaroto
Cininha de Paula
Opened at 254 theatres with
the screen average of $ 3,455
Total: $ 8,77,473
May 15, 2015
Spain (Spanish)
Sicarivs: La noche Y El
Silencio - Sicarivs: Night
And Silence (Thriller)
Pedro Casablanc,
Víctor Clavijo,
Israel Elejalde
Javier Muñoz
Opened at 355 theatres with
the screen average of $ 2,747
Total: $ 9,75,043
For more cinema news please log on to www.boxofficeindia.co.in
SYNOPSIS
Ichiko is a 30-year-old
unemployed woman who meets
Ryoichi at a pub. Even though
he is a lot younger, she can’t
forget him. Meanwhile, Ichiko
has five different characters
in her subconscious mind,
each one something different
to Ichoko.
Malony spends his life in
and out of juvenile court. He
is adopted by a children’s
magistrate and a social
worker but his behavior
doesn’t improve. He is thus
sent off to a juvenile centre,
where Tess, a young girl, tries
to bring out the best in him.
Detective Squad Chief
Choi is returning home
from a party to celebrate
his promotion, when he
accidentally commits a
murder on the way home.
He covers up the crime
but is assigned charge of
the investigation.
Eduarda is an orthopaedist
who had a child and married
Marcos, a successful
event promoter. After 10
years of marriage, they are
contemplating divorce, when
Eduarda meets Teo. She is
torn between embracing
a new story and trying to
rebuild her relationship
with Marcos.
A hitman is asked to kill a
woman but is unsuccessful.
Thereafter, he is on the run
from the people who hired
him. No one knows why
he did not kill the woman
and he knows that in his
profession, he who does
not finish a job must die.
– Compiled by Rohini Nag
28
23 May 2015
Box Office India
REGIONAL TIMES
So far I haven’t had the chance to watch any regional films but I would love to
PUNJABI
This Week
Next Week
OH YAARA AINVAYI
AINVAYI LUT GAYA
GADDAR - THE
TRAITOR
May 22, 2015
May 29, 2015
Banner: Father & Son Films
Producers: Mukesh Sharma,
Khushwant Singh
Director: Raj Sinha
Cast: Jassi Gill, Gauahar Khan,
BN Sharma
Banner: Unisys Infosolutions,
Maan Five Production
Producer: Sumeet Singh
Director: Amitoj Maan
Cast: Harbhajan Mann, Manpneet
Grewal, Evelyn Sharma
TAMIL
Last Week
Last Week
36 VAYADHINILE
PURAMPOKKU
PODHUVUDAMAI
May 15, 2015
May 15, 2015
Banner: 2D Entertainment
Producer: Suriya
Director: Rosshan Andrrews
Cast: Jyothika, Rahman, Abhirami
Verdict: Average
Banner: UTV Motion Pictures
Producers: Siddharth Roy Kapur
Director: SP Jananathan
Cast: Arya, Shaam,
Vijay Sethupathi
Verdict: Good
TELUGU
Last Week
This Week
LION
365 DAYS
May 14, 2015
May 22, 2015
Banner: Sri Lakshmi
Venkateswara Cinema
Producer: Rudrapati Ramana Rao
Director: Satyadev
Cast: Balakrishna, Trisha Krishnan,
Radhika Apte
Banner: ZED 3 Pictures
Producer: ZED 3 Pictures
Director: Ram Gopal Varma
Cast: Nandu, Anaika Soti,
Posani Krishna Murali
Verdict: Above Average
SYNOPSIS
A young couple rushes into
marriage only to realise that their
expectations don’t match. The film
follows the life of the couple for
365 days and how time distances
them.
Remark: Interesting plot!
BENGALI
Last Week
This Week
FAKE BOOK
JAMAI 420
May 15, 2015
May 22, 2015
Banner: And Movies
Producer: Angad Singh
Director: Saanjay Bardhan
Cast: Gaurab Chakraborty, Ridhima
Ghosh, Tanaji Dasgupta
Banner: Shree Venkatesh Films,
Surinder Films
Producers: Shrikant Mohta,
Mahendra Soni, Nishpal Singh
Director: Ravi Kinagi
Cast: Ankush Hazra, Soham
Chakraborty, Hiran
Verdict: Below Average
– Compiled by Rohini Nag
23 May 2015
Box Office India
29
HUNT IS OVER
The backdrop of a film is very important, especially today. One reason Tanu Weds Manu was so highly appreciated was because
of the locations Aanand captured. Otherwise we see only foreign locations or films shot on sets but he captured rustic Indian
locations and showed them in a different light. Imagine seeing a scene from rustic India, where a father is sewing a button!
Island Idyll
From primeval rainforests to stunning natural vistas and a culture curry,
Indonesia is a locale that surprises filmmakers – and is affordable too
Q ROHINI NAG
A
dventure looms large in this
vast and steamy archipelago
in South-East Asia, where
heady scents, vivid colours, dramatic
vistas and diverse cultures leave your
senses reeling. Rippling across the
equator for nearly 5,000 km, Indonesia
encompasses more than 17,000 islands,
two-thirds of which are inhabited and
richly layered with character.
Indonesia, officially the Republic of
Indonesia, is a country in South East
Asia and Oceania. The country’s capital
city is Jakarta and it shares land borders
with Papua New Guinea, East Timor and
Malaysia. Other neighbouring countries
include Singapore, the Philippines,
Australia and the Indian territory of the
Andaman and Nicobar Islands.
On Sulawesi, the elaborate ceremonies
and timeless traditions of Tana Toraja
are light years from the surfing culture of
Lombok. But so are the mighty saddlebacked Batak mansions of Danua Toba
and the volcanic lakes of Sumatra,
from the mummies and deeply etched
gorges of Papua’s Baliem Valley. The
resorts and restaurants of Bali pamper
30
precocious style cats, while threadbare
backpackers are adopted by home stays
in Kalimantan.
Indonesia’s cities are in a constant
state of urban evolution, where
dense populations, technology and
construction live in hectic symbiosis.
But most of the archipelago’s territory
remains unexplored, concealing
a wealth of cultures and a myriad
landscapes. Oceanic rice fields
and ancient sultanates in Java
are humbled by haunting volcanic
cones. Maluku’s alabaster beaches and
desert islands remain pristine while the
tourist trail heads elsewhere. The
jungles of Sumatra, Kalimantan and
Papua are zoological wonders, revealing
impish animals.
CLIMATE
Lying along the equator, Indonesia has
a tropical climate, with two distinct
monsoonal wet and dry seasons.
Mountainous areas – particularly in
the west coast of Sumatra, West Java,
Kalimantan, Sulawesi, and Papua –
receive the highest rainfall. Humidity is
generally high, averaging about 80 per
cent. Temperatures vary little throughout
the year; the average daily temperature
range of Jakarta is 26–30 °C.
BENEFITS OF FILMING IN INDONESIA
•Independent labour force
•Tax-free haven for foreign artistes
•Master craftsman at a fraction of the
price
•Reasonable labour costs
•Large numbers of extras available on
short from 350 different ethnic groups,
including people of Polynesian, Central
Asian, Indian, Middle Eastern, Papuan,
Melanesian, Aboriginal, Portuguese
and Dutch descent, with a large
expatriate population from across the
globe.
•Inexpensive building materials
•Private sector support (Hotels, Airlines,
Ground Transportation)
•Full government support
•Combining this comprehensive list with
low costs, most productions are able to
cut budgets by 10-20 per cent
•Indonesia is an increasingly attractive
filming destination
Box Office India
23 May 2015
LOCATIONS
Stretching over 5,000 km, there is very
little visual background that cannot be
provided for any action or era somewhere
among Indonesia’s 18,110 islands.
In this vast and geographically and
culturally diverse country, scenes can
be set amid literally one of a thousand
temples, a trail of extinct and active
volcanoes, among ancient and stunningly
terraced rice fields, palatial ruins, colonial
buildings, royal water gardens, deserted
pink, gold and black sand beach islands,
lush tropical rainforests packed with
unique flora and fauna, tribal villages,
ocean cliffs or stone cities.
Combined with low production costs
and BFC’s (Bali Film Commission) ability
to get results with a pool of talented and
creative people readily available to service
the needs of serious film and television
producers, the country is an attractive
and economical location for filming.
VISA & PERMIT DETAILS
1. An Application for Filming and Visa
request is to be submitted to Republic of
Indonesia Embassy or Consulate:
•Covering Letter of Introduction from
Production Company
•Synopsis/Script
23 May 2015
Box Office India
•Location List
•Filming Schedule
•Crew List
•Equipment List
•A signed statement for film/video
shooting
2. Once the documents are deemed
complete, they will be forwarded to
Jakarta, Department of Foreign Affairs.
3. First to be reviewed is the visa request.
After visas are approved, the Filming
Permit is approved at the same time and
issued within the next couple of days.
4. If the application is deemed
incomplete or additional information
required, it will be sent back to the
Embassy/Consulate and the Embassy/
Consulate will contact the production
company advising them of the additional
information required.
5. If crew members listed on the initial
application are arriving from different
countries and this is noted on the
application, they can collect their visa in
the country of residence or origin.
6. The Film Permit is collected by the
crew upon arrival in Indonesia.
7. Journalist visas are valid 30 days, Film
Permit 30 days, and can be extended in
country another 30 days.
8. Once the National Permit is issued,
additional Provincial Film Permit(s) are
required for the areas listed, including
any Conservation Area/National Park/
Forestry Permits.
Fact File
Capital:
Jakarta
Currency:
1 (INR) Indian
Rupee = 205.84
(IDR) Indonesian
Rupiahs
Area:
19,19,440 Square
Kilometer
Population:
25,21,64,800
Language:
Indonesian
Films Shot In Indonesia
Blackhat (2015)
The Raid 2 (2014)
Java Heat (2012)
Alex Cross (2012)
The Raid: Redemption (2011)
Eat Pray Love (2010)
31
LIGHTS CAMERA ACTION
Nirja Bhanot
A
Fitoor
Another shooting schedule of UTV Motion Pictures’ Fitoor will soon commence in
Mumbai. Produced by Siddharth Roy Kapur and directed by Abhishek Kapoor, the film
features Aditya Roy Kapur, Katrina Kaif and Rekha.
Great Grand Masti
T
he first shooting schedule of Balaji Motion Pictures and Maruti International’s Great
Grand Masti recently commenced in Mumbai. Produced by Ekta Kapoor, Shobha
Kapoor, Ashok Thakeria and Indra Kumar, and directed by Kumar, the film features
Riteish Deshmukh, Vivek Oberoi and Aftab Shivdasini in the lead.
Udta Punjab
T
he last shooting schedule of Phantom Films’s Udta Punjab recently concluded in
Punjab. Produced by Anurag Kashyap, Vikas Bahl and Vikramaditya Motwane,
and directed by Abhishek Chaubey, the film features Shahid Kapoor, Kareena Kapoor
Khan, Alia Bhatt and Diljit Dosanjh.
nother shooting schedule of Fox
Star Studios and Bling Live’s
Nirja Bhanot is in progress in Mumbai.
Produced by Fox Star Studios and
Atul Kasbekar, and directed by Ram
Madhvani, the film features Sonam
Kapoor in the lead.
Shhuddhi
T
he first shooting schedule of
Dharma Productions’ Shhuddhi will
commence by the end of this year in
Mumbai. Produced by Hiroo Johar, Karan
Johar and directed by Karan Malhotra, the
film features Varun Dhawan and Alia Bhatt
in the lead.
ABCD 2
T
he VFX of Disney’s ABCD 2 is in
progress at Riva Digital Studios.
Produced by Siddharth Roy Kapur and
directed by Remo D’Souza, the film
features Prabhudheva, Varun Dhawan and
Shraddha Kapoor. Music:
Sachin-Jigar.
Singh Is Bling
A
nother shooting schedule of Grazing Goat Pictures and Pen India’s Singh Is
Bling is underway in Goa. Produced by Twinkle Khanna, Ashwini Yardi, Jayantilal
Gada and Dhaval Gada, and directed by Prabhudheva, the film features Akshay
Kumar, Amy Jackson and Lara Dutta.
Welcome 2 Karachi
T
he Digital Intermediate and VFX of Puja Films’ Welcome 2 Karachi are underway
at After Studio. Produced by Vashu Bhagnani and directed by Ashish R Mohan,
the film also features Arshad Warsi, Jackky Bhagnani and Lauren Gottlieb.
32
Box Office India
23 May 2015
Bangistan
T
he VFX of Excel Entertainment’s
Bangistan is in progress at Riva Digital
Studios. Produced by Farhan Akhtar and
Ritesh Sidhwani, and directed by Karan
Anshuman, the film features Riteish
Deshmukh, Pulkit Samrat, Chandan Roy
Sanyal and Jacqueline Fernandez.
Phantom
T
he first shooting schedule of Bombairiya is underway in Mumbai. Produced by
Michael Ward and directed by Pia Sukanya, the film features Radhika Apte,
Siddhanth Kapoor, Akshay Oberoi, Shilpa Shukla and Ravi Kishan.
Second Hand Husband
T
he last shooting schedule of Gakhal Brothers Entertainment’s Second Hand Husband
recently concluded in Mumbai. Produced by Amolak Singh Gakhal, and directed by
Smeep Kang, the film features Dharmendra, Gippy Grewal, Narmada Ahuja, Geeta Basra,
Rati Agnihotri, Sanjay Mishra, Vijay Raaz, Gurpreet Ghuggi and Mukesh Tiwari.
Zubaan
T
he Digital Intermediate of Sikhya Entertainment’s Zubaan is underway at After
Studio. Produced by Guneet Monga and directed by Mozes Singh, the film
features Vicky Kaushal and Sarah Jane Dias.
T
he Digital Intermediate of UTV Motion
Pictures and Nadiadwala Grandson
Entertainment’s Phantom is in progress at
Prime Focus Studios. Produced by Sajid
Nadiadwala and Siddharth Roy Kapur, and
directed by Kabir Khan, the film features
Saif Ali Khan and Katrina Kaif in the lead.
Music: Pritam.
Drishyam
T
he last shooting schedule of Viacom18
Motion Pictures and Panorama
Studios’ Drishyam recently concluded in
Hyderabad. Produced by Kumar Mangat
Pathak, Ajit Andhare and Abhishek Pathak
and directed by Nishikant Kamath, the film
features Ajay Devgn, Shriya Saran, Rajat
Kapoor and Tabu
PUBLIC NOTICE
ll concerned are notified that the Music Composers Mr. Amaal Mallik and Mr. Shrey Singhal (also performing artists) and performing artist Mr. Armaan Malik have entered into
a contract of exclusivity with SUPER CASSETTES INDUSTRIES PRIVATE LIMITED (T-SERIES) formerly known as Super Cassettes Industries Limited for the following act, deed and
things to perform/sing Film Songs, Non-Film Songs i.e. Singles and/or Album Songs; to compose and deliver Songs/Sound Recordings; to perform Audio Visual Song and Audio-visual
material, Music Video, Ad Films/Commercials, Television Shows, Stage Shows, Live Events, Concerts and personal appearances, any ribbon cutting events, brand tie-in/tie-ups in
Hindi or any other Language.
It is accordingly notified that pursuant to such contract of exclusivity between each of the said Artists and Super Cassettes Industries Private Limited, if any person is desirous of
engaging any of aforesaid services of the said artists viz., Mr. Amaal Mallik, Mr. Shrey Singhal and Mr. Armaan Malik such person may contact Ms. Sonal Chawla either personally or
through (Mob:9820151838 Email : [email protected]) and obtain prior written consent/contract to this effect which must be duly signed by Authorized Signatory of Super Cassettes
Industries Private Limited.
Any Person or party may enter into any agreement in writing with the said Music Composer Mr. Amaal Mallik or hire his aforesaid services including composing music for any song/
film with prior written consent or license from Super Cassettes Industries Private Limited.
Date: 22nd May, 2015 Super Cassettes Industries Private Limited
T-SERIES Business Park,
Plot No. B-32, Off. New Link Road,
Andheri (W), Mumbai -400 053
23 May 2015
Box Office India
33
PUBLIC NOTICE
Bombairiya
BOX OFFICE COLLECTION
It’s very important but one should understand the math. If your film’s budget is ` 100 crore and your film earns
` 105 crore at box office, will you say it entered the ` 100-crore club? Did it make a profit? We should look at return on
investment (ROI) and not use the ‘` 100-crore club’ yardstick. Every film can’t earn ` 100 crore and one must look at
how much a film earned relative to its budget.
MUMBAI
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(SHRINGAR FILMS PVT LTD)
PIKU
(YASH RAJ FILM DISTRIBUTOR)
GABBAR IS BACK
(AUGUST ENTERTAINMENT)
WEEKS COLLECTIONS THEATRES
1
7,57,00,000
580
TOTAL
COLLECTIONS
7,57,00,000
2
7,25,00,000
275
20,95,00,000
3
1,07,81,000
223
24,63,81,000
EAST PUNJAB
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(NARSIMHA ENTERPRISES)
PIKU
(YASH RAJ & PURI CO. PVT LTD)
GABBAR IS BACK
(NARSIMHA ENTERPRISES)
CI
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(SUNIL ENTERPRISES)
PIKU
(YASH RAJ KHAJANCHI FILM )
GABBAR IS BACK
(ADITYA ENTERTAINMENT)
NIZAM-AP
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(INDRA FILMS)
PIKU
(YASH RAJ VANDANA FILM )
GABBAR IS BACK
(ANKIT MOVIES)
WEEKS COLLECTIONS THEATRES
1
2,51,00,000
125
TOTAL
COLLECTIONS
2,51,00,000
2
2,30,00,000
95
6,20,00,000
3
48,00,000
85
8,71,00,000
WEEKS COLLECTIONS THEATRES
1
62,50,000
85
TOTAL
COLLECTIONS
62,50,000
2
63,00,000
28
1,91,00,000
3
27,40,000
37
3,55,90,000
1
85,00,000
90
TOTAL
COLLECTIONS
85,00,000
2
95,00,000
45
2,67,00,000
3
16,45,000
33
3,91,45,000
WEEKS COLLECTIONS THEATRES
WEST BENGAL
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(SHREE VENKATESH FILMS PVT LTD)
PIKU
(YASH RAJ JALAN DISTRIBUTORS)
GABBAR IS BACK
(SHREE VENKATESH FILMS)
ASSAM
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(SHREE VENKATESH FILMS PVT LTD)
PIKU
(YASH RAJ JALAN DISTRIBUTORS)
GABBAR IS BACK
(GOENKA ENTERPRISES)
WEEKS COLLECTIONS THEATRES
1
93,00,000
92
TOTAL
COLLECTIONS
93,00,000
2
2,12,00,000
72
5,17,00,000
3
18,71,000
34
3,70,71,000
1
16,50,000
75
TOTAL
COLLECTIONS
16,50,000
2
12,00,000
22
37,00,000
3
3,27,000
17
80,27,000
WEEKS COLLECTIONS THEATRES
DELHI - UP
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(FOXSTAR STUDIOS INDIA PVT LTD)
PIKU
(YASH RAJ P.P ASSOCIATES PVT LTD)
GABBAR IS BACK
(EURASIA VISUALS)
CP
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(RAJSHRI PRODUCTIONS PVT LTD)
PIKU
(YASH RAJ KHAJANCHI FILM )
GABBAR IS BACK
(MARUDHAR ENTERTAINMENT)
RAJASTHAN
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(MARUDHAR ENTERTAINMENT)
PIKU
(YASH RAJ JAI PICTURES PVT LTD)
GABBAR IS BACK
(MARUDHAR ENTERTAINMENT)
MYSORE
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(GOLDIE FILMS)
PIKU
(YASH RAJ PAL FILMS )
GABBAR IS BACK
(BAHAR ENTERPRISES)
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(SHREE VENKATESH FILMS PVT LTD)
PIKU
(YASH RAJ JALAN DISTRIBUTORS)
GABBAR IS BACK
(RENU VIJAY FILMS)
ORISSA
FILM
(DISTRIBUTOR)
BOMBAY VELVET
(RAJSHRI PRODUCTIONS PVT LTD)
PIKU
(YASH RAJ JALAN DISTRIBUTORS)
GABBAR IS BACK
(PRAKASH PICTURES)
34
mber
20 Septe
TOTAL
COLLECTIONS
30,00,000
2013
Premier
Film
Trade
Vol. 5
Issue
210
2
5,15,00,000
102
14,05,00,000
3
87,80,000
120
15,74,80,000
WEEKS COLLECTIONS THEATRES
1
81,00,000
140
TOTAL
COLLECTIONS
81,00,000
2
65,00,000
42
1,92,00,000
3
30,26,000
50
4,97,26,000
WEEKS COLLECTIONS THEATRES
1
94,00,000
95
TOTAL
COLLECTIONS
94,00,000
2
80,00,000
35
2,33,00,000
3
31,63,000
40
4,57,63,000
1
1,49,00,000
77
TOTAL
COLLECTIONS
1,49,00,000
2
2,06,00,000
34
5,86,00,000
3
10,00,000
20
2,77,00,000
WEEKS COLLECTIONS THEATRES
2014
Vol. 6
Issue
WEEKS COLLECTIONS THEATRES
1
38,00,000
88
TOTAL
COLLECTIONS
38,00,000
2
35,00,000
18
90,00,000
3
11,22,000
46
2,10,22,000
1
22,50,000
50
TOTAL
COLLECTIONS
22,50,000
2
15,00,000
12
47,00,000
3
4,26,000
15
95,76,000
WEEKS COLLECTIONS THEATRES
150
2 `
150
2 `
2014
Magazine
ass
ercl
in conversation
Shoojit
and
Bachchan
Shetty
Mast
with
Sircar
Amitabh
Ali, Rohit
Imtiaz
2013
2010
Vol. 2
Issue
Premier
Film
Trade
at your fingertips.
2012
150
1 Rs
18 September
Magazine
1
ST
ANNIVERSARY
2011
SPECIAL
ISSUE
1,03,00,000
4,36,00,000
21 September
India’s
India’s
85,00,000
1
TOTAL
COLLECTIONS
4,36,00,000
BIHAR & JHARKHAND
TNK
FILM
WEEKS COLLECTIONS THEATRES
(DISTRIBUTOR)
BOMBAY VELVET
1
30,00,000
45
(E4 ENTERTAINMENT-SPI CINEMA)
PIKU
2
30,00,000
15
(YASH RAJ SPI CINEMA-JAWAHAR FILMS)
GABBAR IS BACK
3
3,00,000
10
(AURAA CINEMA)
WEEKS COLLECTIONS THEATRES
2010
Log on to
www.boxofficeindia.co.in
Box Office India
23 May 2015
FILM
PRODUCER
WEEK
NETT. LAST WEEK THEATRES
TOTAL NETT.
Bombay Velvet
Vikas Bahl, Vikramaditya Motwane, Fox Star Studios 1
21,15,00,000
1752
21,15,00,000
The Real Story Ok
Pali Films
1
20,000
1
20,000
Hyderabad Kay Sholay
MD. Masiuddin
1
3,56,456
3
3,56,456
Mad Max : Fury Road*
George Miller, Doug Mitchell, P.J. Voeten
1
5,25,00,000
500
5,25,00,000
Piku
NP Singh, Ronnie Lahiri, Sneha Rajani
2
22,83,00,000
795
63,65,00,000
Kuch Kuch Locha Hai
Mukesh Purohit 2
2,37,713
29
3,24,37,713
Makad Jaala - A Political Trap
Dinesh Kumar Sahu
2
8,207
1
40,942
Gabbar Is Back
Sanjay Leela Bhansali, Viacom18 Motion Pictures 3
3,99,81,000
730
77,48,81,000
Sabki Bajegi Band
Yusuf Shaikh
3
1,24,052
14
22,37,548
The Avengers - Age Of Ultron*
Kevin Feige
4
1,05,00,000
300
73,06,00,000
Mr. X
Mukesh Bhatt
5
88,190
9
20,42,76,679
Margarita With A Straw
Shonali Bose, Nilesh Maniyar, Viacom18 Motion Picture
5
1,10,988
9
4,19,22,518
Ek Paheli Leela
Ahmed Khan, Shaira Khan, Bhushan Kumar, Krishan Kumar 6
41,921
4
22,53,53,517
Dharam Sankat Mein
Sajjad Chunawala, Shariq Patel, Viacom18 Motion Pictures 6
47,420
3
8,60,76,820
Detective Byomkesh Bakshy!
Dibakar Banerjee
7
78,602
3
25,15,35,186
*Including all formats and dubbed language versions
PVR CINEMAX
FROM MAY 15TH TO MAY 21ST, 2015
444 screens
471
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
5400
4086
1232
305872
448441
95792
4,80,85,085
6,17,79,173
1,05,51,195
6,49,31,923
8,33,45,395
1,45,86,793
6,49,31,923
22,55,65,681
17,97,48,901
1
2
3
INOX
FROM MAY 15TH TO MAY 21ST, 2015
365 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
4672
3680
730
247890
414698
49138
3,36,04,533
5,11,95,435
53,26,699
4,48,88,200
6,83,80,392
70,73,524
4,48,88,200
18,19,19,242
13,44,30,003
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
236 screens
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
3250
1646
898
128677
138053
48591
1,44,52,745
1,58,34,816
47,81,754
2,08,36,261
2,29,81,462
67,99,947
2,08,36,261
6,54,47,481
8,13,76,892
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
82 screens
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
23 May 2015
Box Office India
(Collection from 94 stations)
SHOWS
FUN CINEMAS
NO
(Collection from 94stations)
SHOWS
BIG CINEMAS
NO
(Collection from 106 stations)
(Collection from 24 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
1238
869
264
54266
79946
17307
72,95,627
1,02,26,459
20,82,212
98,97,170
1,39,59,918
27,62,907
98,97,170
3,94,46,607
3,76,24,600
1
2
3
35
BOX OFFICE COLLECTION
SRS CINEMAS
FROM MAY 15TH TO MAY 21ST, 2015
54 screens
NO
FILMS
SHOWS
AUDIENCE
NETT
GROSS
(Collection from 19 stations)
GROSS TOTAL
WEEK
1
BOMBAY VELVET
956
38560
39,63,894
60,89,148
60,89,148
1
2
PIKU
680
57797
60,22,440
92,04,388
2,15,19,808
2
3
GABBAR IS BACK
207
11702
11,78,374
18,61,313
2,54,21,387
3
WAVE INC.
FROM MAY 15TH TO MAY 21ST, 2015
35 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
735
434
189
42400
44348
13109
-
75,03,907
77,85,910
21,66,750
75,03,907
2,24,04,960
2,68,28,529
1
2
3
DT CINEMAS
FROM MAY 15TH TO MAY 21ST, 2015
29 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
451
332
74
30835
39400
5157
67,53,934
73,97,351
9,16,846
82,93,017
91,61,558
11,23,228
82,93,017
2,45,25,939
1,88,37,644
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
31 screens
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
385
273
84
11905
19361
4326
10,68,485
16,41,027
4,06,994
-
10,68,485
45,90,869
47,61,461
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
NETT
GROSS
GROSS TOTAL
WEEK
230
216
18
17726
28707
1062
20,99,173
35,07,455
1,01,793
30,98,640
51,69,240
1,52,080
30,98,640
1,24,46,175
76,76,420
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
AUDIENCE
NETT
GROSS
GROSS TOTAL
280
220
45
22351
29378
4034
21,59,279
30,21,061
3,61,411
34,93,218
44,79,819
5,25,745
34,93,218
84,40,109
55,08,855
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
4,89,216
6,90,973
1,88,064
-
4,89,216
16,28,409
23,03,497
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
36
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
27 screens
FILMS
1
2
3
(Collection from 3 stations)
SHOWS
GLITZ CINEMAS
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
10 screens
FILMS
(Collection from 9 stations)
SHOWS
SILVER CITY
NO
(Collection from 10 stations)
AUDIENCE
21 screens
FILMS
1
2
3
SHOWS
E-SQUARE
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
30 screens
FILMS
(Collection from 11 stations)
SHOWS
CITY PRIDE
NO
(Collection from 7 stations)
SHOWS
MUKTA A2
NO
(Collection from 10 stations)
SHOWS
(Collection from 9 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
746
650
492
31546
44908
21793
35,14,450
51,06,983
23,76,763
44,79,166
63,26,728
29,83,726
44,79,166
-
Box Office India
WEEK
1
2
3
23 May 2015
MOVIE TIME
FROM MAY 15TH TO MAY 21ST, 2015
29 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
470
353
70
18641
24147
4123
18,81,506
25,71,318
5,26,877
25,40,609
33,71,269
6,43,918
25,40,609
96,49,469
81,35,755
M2K CINEMAS
FILMS
1
2
BOMBAY VELVET
PIKU
AUDIENCE
NETT
GROSS
GROSS TOTAL
126
63
6398
7460
10,11,490
11,31,046
-
10,11,490
30,09,533
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
161
98
28
8854
13728
1358
12,51,306
17,50,644
1,61,298
20,85,510
29,17,740
2,68,830
20,85,510
73,52,580
53,65,850
FILMS
BOMBAY VELVET
PIKU
GABBAR IS BACK
Cinemas
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
21143
31305
5889
18,56,203
26,00,305
4,81,296
26,45,398
37,08,541
6,77,211
26,45,398
1,05,91,577
90,12,606
1
2
3
MAXUS CINEMA
FROM MAY 15TH TO MAY 21ST, 2015
19 screens
AUDIENCE
NETT
GROSS
GROSS TOTAL
190
107
75
9386
11080
5116
9,87,672
10,26,552
4,65,652
15,04,188
15,73,786
7,07,980
15,04,188
45,16,621
66,68,300
1
2
3
BOMBAY VELVET
Piku
Gabbar Is Back
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
NETT
GROSS
GROSS TOTAL
WEEK
685
423
237
24413
32699
14118
20,91,282
28,08,197
11,67,236
28,38,200
38,25,650
15,91,540
28,38,200
1,01,75,130
1,09,80,940
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
AUDIENCE
NETT
GROSS
GROSS TOTAL
119
77
42
6542
4910
2064
5,92,710
4,66,486
1,78,482
9,87,850
7,76,810
2,97,470
9,87,850
20,22,500
43,44,060
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
23 May 2015
Box Office India
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
(Collection from 2 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
38
28
13
1203
1232
453
78,188
73,768
26,801
1,09,500
1,03,288
37,531
1,09,500
3,66,094
5,31,940
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
18 screens
FILMS
(Collection from 2 stations)
SHOWS
Q CINEMAS
NO
(Collection from 18 stations)
AUDIENCE
8 screens
FILMS
1
2
3
SHOWS
KT VISION
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
5 screens
FILMS
(Collection from 4 stations)
SHOWS
IP CINEMAS
NO
(Collection from 11 stations)
497
352
118
48 screens
FILMS
1
2
3
SHOWS
MIRAJ
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
41 screens
1
2
3
1
2
(Collection from 2 stations)
SHOWS
CARNIVAL CINEMAS
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
10 screens
FILMS
1
2
3
(Collection from 2 stations)
SHOWS
SPICE
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
5 screens
NO
(Collection from 9 stations)
(Collection from 5 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
289
104
48
5756
6100
1306
6,55,826
7,45,591
1,19,811
8,40,998
9,66,689
1,49,495
8,40,998
26,43,818
24,64,493
WEEK
1
2
3
37
BOX OFFICE COLLECTION
CITY PULSE
FROM MAY 15TH TO MAY 21ST, 2015
5 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
1028
2276
960
1,14,926
2,63,436
81,408
1,43,658
3,29,296
1,01,760
1,43,658
9,49,512
12,01,248
CITY GOLD
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
264
229
152
10849
18565
11382
9,40,514
16,49,806
9,77,111
12,43,894
22,09,400
13,00,492
12,43,894
51,47,838
82,43,824
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
99
63
42
3160
2847
1757
3,82,367
3,36,848
2,12,241
5,06,786
4,50,336
2,69,460
5,06,786
13,86,018
18,35,132
FILMS
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
150
50
25
3743
1765
608
2,67,813
1,61,613
54,192
5,02,260
2,95,830
99,440
5,02,260
8,07,350
21,97,402
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
NETT
GROSS
GROSS TOTAL
WEEK
261
152
164
15133
13535
13116
11,30,510
11,27,992
10,04,188
15,41,056
15,55,884
13,89,016
15,41,056
44,37,372
1,28,75,740
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
AUDIENCE
NETT
GROSS
GROSS TOTAL
132
80
50
4283
2620
1356
4,67,225
2,88,006
1,44,208
5,79,981
3,68,000
1,80,886
5,79,981
10,05,608
-
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
158
75
60
2858
2178
995
2,47,795
1,58,901
85,089
3,25,713
2,31,060
1,01,009
3,25,713
6,90,710
15,26,994
FILMS
BOMBAY VELVET
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
44
28
1815
1501
2,31,496
1,75,068
2,37,711
1,78,327
2,37,711
10,73,815
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
38
WEEK
1
3
FROM MAY 15TH TO MAY 21ST, 2015
16 screens
FILMS
1
2
3
(Collection from 1 stations)
SHOWS
ERA CINEMAS
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
2 screens
1
2
1
2
3
(Collection from 8 stations)
SHOWS
OHM CINEMA
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
17 screens
FILMS
(Collection from 4 stations)
SHOWS
K SERA SERA
NO
(Collection from 9 stations)
AUDIENCE
8 screens
FILMS
1
2
3
SHOWS
SUNCITY
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
20 screens
FILMS
1
2
3
(Collection from 5 stations)
SHOWS
RAJHANS
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
12 screens
1
2
3
1
2
3
(Collection from 2 stations)
SHOWS
STAR WORLD
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
9 screens
FILMS
1
2
3
(Collection from 5 stations)
SHOWS
WIDE ANGLE
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
19 screens
NO
(Collection from 1 stations)
SHOWS
(Collection from 6 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
92
42
27
2049
1609
905
1,62,294
1,56,711
77,063
2,62,500
2,24,500
1,23,490
2,62,500
5,94,050
13,81,662
Box Office India
WEEK
1
2
3
23 May 2015
GOLD DIGITAL
FROM MAY 15TH TO MAY 21ST, 2015
32 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
479
218
88
18589
15074
4027
15,88,671
13,59,689
3,53,169
23,86,428
19,95,970
5,11,880
23,86,428
54,15,970
1,15,02,733
1
2
3
CINEMARC
FROM MAY 15TH TO MAY 21ST, 2015
7 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
88
90
75
5133
10329
11463
3,72,496
7,45,844
8,23,359
4,80,268
9,46,394
10,42,928
4,80,268
22,20,614
46,47,880
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
38
35
14
1680
2064
1548
1,18,424
1,44,467
1,17,902
1,71,550
2,09,480
1,69,050
1,71,550
4,50,100
15,71,280
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
6 screens
FILMS
1
2
3
(Collection from 1 stations)
SHOWS
CINE PARK
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
3 screens
FILMS
(Collection from 2 stations)
SHOWS
DEVI
NO
(Collection from 20 stations)
SHOWS
SHOWS
AUDIENCE
NETT
GROSS
(Collection from 2 stations)
GROSS TOTAL
WEEK
1
BOMBAY VELVET
28
-
72,852
-
72,852
1
2
PIKU
14
-
45,798
-
2,59,788
2
3
GABBAR IS BACK
14
-
72,852
-
-
3
PICCADILY SQUARE
FROM MAY 15TH TO MAY 21ST, 2015
4 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
42
42
26
4370
6049
1866
5,47,301
7,62,395
2,32,359
-
5,47,301
22,40,318
22,79,120
PRIYA ENTERTAINMENTS
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
161
130
28
6006
18652
815
5,05,779
15,49,723
77,675
6,51,578
20,11,836
96,921
6,51,578
-
1
2
BOMBAY VELVET
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
21
42
186
413
14,300
37,900
-
14,300
1,88,805
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
2,30,167
24,516
24,771
-
2,30,167
1,10,679
11,05,918
1
2
BOMBAY VELVET
GABBAR IS BACK
23 May 2015
Box Office India
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
5 screens
FILMS
1
3
(Collection from 3 stations)
SHOWS
GALAXIE MULTIPLEXES
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
8 screens
FILMS
1
2
3
(Collection from 2 stations)
SHOWS
MOVIE WORLD
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
6 screens
FILMS
1
2
3
(Collection from 9 stations)
SHOWS
E4U MULTIPLEX
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
11 screens
NO
(Collection from 2 stations)
SHOWS
(Collection from 2 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
109
49
2592
1388
1,73,906
78,612
3,30,070
1,52,720
3,30,070
12,76,270
WEEK
1
3
39
BOX OFFICE COLLECTION
EYLEX FUN N FILMS
FROM MAY 15TH TO MAY 21ST, 2015
(Collection from 15 stations)
23 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
9,62,963
9,58,627
1,33,762
-
9,62,963
22,49,932
37,80,022
SSR RUPASI
FILMS
1
2
BOMBAY VELVET
GABBAR IS BACK
TOP 3
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
MADHUBAN
NO
FILMS
1
2
BOMBAY VELVET
GABBAR IS BACK
OM
NO
FILMS
1
2
BOMBAY VELVET
PIKU
SURAJ
OM
NO
FILMS
1
2
BOMBAY VELVET
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
50
14
1921
550
2,22,428
63,800
2,84,640
82,500
2,84,640
8,69,250
TOP 3
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
7 screens
AUDIENCE
NETT
GROSS
GROSS TOTAL
28
28
28
-
1,38,665
40,195
1,89,788
-
1,38,665
-
MADHUBAN
FILMS
BOMBAY VELVET
PIKU
GABBAR IS BACK
3 screens
AUDIENCE
NETT
GROSS
GROSS TOTAL
31
27
584
592
51,299
58,785
72,300
81,770
72,300
4,18,830
OM
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
40
WEEK
1
3
FROM MAY 15TH TO MAY 21ST, 2015
2 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
24
29
1267
1739
1,52,457
2,06,251
1,90,572
2,57,814
1,90,572
6,44,140
SURAJ
WEEK
1
2
FROM MAY 15TH TO MAY 21ST, 2015
2 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
35
34
1318
2034
1,10,710
1,71,955
1,56,840
2,43,420
1,56,840
-
WEEK
1
3
FROM MAY 15TH TO MAY 21ST, 2015
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
49
21
14
3953
3784
754
3,81,858
3,24,573
63,406
6,95,725
5,97,715
1,16,988
6,95,725
23,25,555
22,91,068
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
2348
2960
2722
3,36,190
4,00,488
3,22,116
4,20,238
5,00,610
4,02,642
4,20,238
11,91,128
-
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
2 screens
FILMS
1
2
3
(Collection from 1 stations)
SHOWS
BALAJI
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
5 screens
1
2
3
1
3
(Collection from 1 stations)
SHOWS
COSMOPLEX
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
3 screens
FILMS
(Collection from 1 stations)
SHOWS
JAM SHIPRA
NO
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
4 screens
NO
WEEK
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
13
19
16
364
609
431
29,939
50,915
29,652
42,520
72,170
43,100
42,520
-
Box Office India
WEEK
1
3
23 May 2015
MOVIEPLEX
FROM MAY 15TH TO MAY 21ST, 2015
2 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
636
502
789
40,652
30,993
42,475
50,816
38,742
53,094
50,816
-
SURYA CINEMAS
SHOWS
37
7
36
AUDIENCE
370
70
300
NETT
49,320
11,430
40,430
EOS CINEMAS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
1
2
BOMBAY VELVET
PIKU
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
GROSS TOTAL
140
42
42
7280
2184
2604
5,89,389
1,64,761
1,96,446
6,69,760
1,79,088
2,13,528
6,69,760
6,28,152
15,25,848
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
63
35
983
1888
90,080
1,66,940
1,17,120
2,17,040
1,17,120
-
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
91
14
33
966
151
300
1,40,561
26,824
44,867
1,59,490
28,120
49,150
1,59,490
1,21,600
7,63,290
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
40
42
18
1383
2335
708
1,31,085
2,33,704
63,731
1,96,660
3,49,370
95,950
1,96,660
9,77,070
6,98,910
1
GABBAR IS BACK
23 May 2015
Box Office India
1
2
3
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
94,527
67,188
24,288
-
94,527
2,11,842
-
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
2,76,140
93,710
2,60,641
-
2,76,140
3,32,298
-
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
2 screens
FILMS
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
KAMAL
NO
1
2
3
(Collection from 1 stations)
SHOWS
2 screens
FILMS
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
BMG CINEMA
NO
1
2
(Collection from 2 stations)
SHOWS
2 screens
FILMS
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
PDR
NO
1
2
3
(Collection from 2 stations)
SHOWS
5 screens
FILMS
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
SM5
NO
(Collection from 5 stations)
GROSS
5 screens
FILMS
WEEK
1
2
3
NETT
REDROCK
NO
GROSS TOTAL
49,320
-
AUDIENCE
5 screens
FILMS
GROSS
49,320
11,430
40,430
SHOWS
ARTI CINEMAS
NO
3
FROM MAY 15TH TO MAY 21ST, 2015
8 screens
FILMS
1
(Collection from 4 stations)
FILMS
BOMBAY VELVET
PIKU
GABBAR IS BACK
NO
WEEK
FROM MAY 15TH TO MAY 21ST, 2015
8 screens
NO
1
2
3
(Collection from 1 stations)
SHOWS
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
58,417
-
-
WEEK
3
41
BOX OFFICE COLLECTION
PACIFIC
FROM MAY 15TH TO MAY 21ST, 2015
3 screens
NO
FILMS
1
2
3
BOMBAY VELVET
PIKU
GABBAR IS BACK
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
1,00,533
1,19,841
31,221
-
1,00,533
2,89,842
-
MOVIE LOUNGE
FILMS
1
2
WEEK
1
2
3
FROM MAY 15TH TO MAY 21ST, 2015
2 screens
NO
(Collection from 1 stations)
SHOWS
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
BOMBAY VELVET
-
-
1,30,050
1
-
-
1,30,050
1,44,440
-
PIKU
-
-
2
BOMBAY VELVET - DAY WISE BREAK-UP
BOMBAY VELVET
1st Day
2nd Day
3rd Day
4th Day
5th Day
6th Day
7th Day
1st Week
Mumbai
1,75,00,000
1,78,00,000
1,92,00,000
70,00,000
48,00,000
47,00,000
47,00,000
7,57,00,000
Delhi UP
95,00,000
1,00,00,000
1,15,00,000
41,50,000
29,00,000
28,00,000
28,00,000
4,36,00,000
East Punjab
58,50,000
61,00,000
63,00,000
22,50,000
16,00,000
15,00,000
15,00,000
2,51,00,000
CP
20,00,000
17,00,000
22,00,000
8,00,000
5,50,000
4,50,000
4,00,000
81,00,000
CI
15,50,000
13,50,000
17,00,000
6,00,000
4,25,000
3,25,000
3,00,000
62,50,000
Rajasthan
27,00,000
21,00,000
23,00,000
8,50,000
5,75,000
4,75,000
4,00,000
94,00,000
NIZAM
22,00,000
19,00,000
22,00,000
8,00,000
5,50,000
4,50,000
4,00,000
85,00,000
MYSORE
30,00,000
38,00,000
39,00,000
14,00,000
10,00,000
9,00,000
9,00,000
1,49,00,000
West Bengal
24,00,000
18,50,000
25,00,000
9,00,000
6,25,000
5,25,000
5,00,000
93,00,000
Bihar-Jharkhand
10,00,000
8,00,000
11,00,000
4,00,000
2,75,000
1,75,000
1,00,000
38,00,000
ASSAM
5,00,000
3,00,000
4,00,000
1,50,000
1,00,000
1,00,000
1,00,000
16,50,000
ORISSA
6,00,000
5,00,000
6,00,000
2,00,000
1,50,000
1,00,000
1,00,000
22,50,000
TNK
7,00,000
8,00,000
8,00,000
3,00,000
2,00,000
1,00,000
1,00,000
30,00,000
Total
4,95,00,000
4,90,00,000
5,47,00,000
1,98,,00,000
1,38,00,000
1,26,00,000
1,23,00,000
21,15,00,000
PIKU - DAY WISE BREAK-UP
Piku
1st Week
8th Day
9th Day
10th Day
11th Day
12th Day
13th Day
14th Day
MUM
13,70,00,000
1,00,00,000
1,65,00,000
2,05,00,000
77,00,000
62,00,000
62,00,000
60,00,000 7,25,00,000
20,95,00,000
DUP
8,90,00,000
61,00,000
1,15,00,000
1,38,00,000
60,00,000
48,00,000
47,00,000
52,00,000 5,15,00,000
14,05,00,000
EP
3,90,00,000
30,00,000
55,00,000
70,00,000
20,00,000
18,00,000
20,00,000
19,00,000 2,30,00,000
6,20,00,000
CP
1,27,00,000
7,00,000
12,00,000
17,00,000
9,00,000
8,00,000
9,00,000
8,00,000 65,00,000
1,92,00,000
CI
1,28,00,000
10,00,000
15,00,000
23,00,000
6,00,000
6,00,000
6,00,000
5,00,000 63,00,000
1,91,00,000
RAJ
1,53,00,000
11,00,000
16,00,000
26,00,000
11,00,000
7,00,000
8,00,000
7,00,000 80,00,000
2,33,00,000
NIZ-AP
1,72,00,000
12,00,000
19,00,000
23,00,000
12,00,000
10,00,000
10,00,000
10,00,000 95,00,000
2,67,00,000
MYS
3,80,00,000
30,00,000
45,00,000
50,00,000
20,00,000
21,00,000
20,00,000
20,00,000 2,06,00,000
5,86,00,000
WB
3,05,00,000
25,00,000
42,00,000
52,00,000
26,00,000
24,00,000
22,00,000
21,00,000 2,12,00,000
5,17,00,000
B&J
55,00,000
4,00,000
6,00,000
10,00,000
4,00,000
4,00,000
4,00,000
4,00,000 35,00,000
90,00,000
ASM
25,00,000
2,00,000
2,00,000
3,00,000
2,00,000
2,00,000
1,00,000
2,00,000 12,00,000
37,00,000
ORI
32,00,000
2,00,000
3,00,000
4,00,000
2,00,000
2,00,000
2,00,000
2,00,000 15,00,000
47,00,000
TNK
55,00,000
4,00,000
7,00,000
7,00,000
4,00,000
4,00,000
4,00,000
4,00,000 30,00,000
85,00,000
40,82,00,000
2,98,00,000
5,02,00,000
6,28,00,000
2,53,00,000
2,16,00,000
2,15,00,000
Total
2nd Week
Grand Total
2,14,00,000 22,83,00,000
63,65,00,000
DISCLAIMER: Box Office Information/Figures/Collections contained in this magazine are compiled from a number of sources, including our own research. While every effort is made to ensure completeness and authenticity
of data/figures/information, Box Office India makes no Representation about the accuracy and reliability of the data. Box Office India, Select Publishing Company, Select Media Holdings Private Limited or their affiliates
shall not be liable for any damages whatsoever arising from use of the information contained in the magazine or the website.
42
Box Office India
23 May 2015
REG: MAHENG/2009/56446
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