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Why am I making Khoya Khoya Chand?
Why am i making Khoya Khoya Chand? Because the story comes to you. You can’t rationalize everything. You think that making a film about two individuals caught in the mad world of movies, where there are contradictory aspirations, where there are all these lures of popularity and people grappling with that and also their personal situation is interesting. And we try and put it in another time. But, you are also talking about yourself and your contemporaries.
All films are in the present, because you are shooting now. So, all this bit about historical and all that is nonsense. There is no such thing as a historical film. You are not history writers. Every film is in the present. We use a place, time, an atmosphere, an ambience and people to talk about things that you want to talk about.
Saeed Mirza taught me, you can drown in the quicksand of detail and I keep this very close to me. You are not making a film about details. You are creating an ambience, colour, time, and within that you are telling a story which means something to you, now.
Because if it doesn’t mean something to you now, then its’ not including something you have felt or something that has happened to you. I am not interested in historicity.
I want to make a film in the 1850s about a madcap Nawab and a girl and again, I am trying to talk about, now. I am trying to talk about using the context of the 1850s. I am trying to talk about power, violence and that sometimes we are caught in the wrong time.
For example, Gandhi came at the right time. But, then, in India, it’s either Gandhigiri or nothing. I am supposed to clap, because some film maker has taught me Gandhigiri. This is the world of the illiterate. But Gandhi was an outstanding man.
He could even talk about his sex life with frankness and the great thing about Gandhi is that he allows you his stupid moments, his wrong moments and you can attack him.
That’s the greatness of Gandhi. Not that he was always right. Not that I should mimic him. Things occur at a particular time and place. You cannot mimic anybody. You can take the essence of somebody. So, therefore, with Gandhi, there are some things to learn there.
There’s lot of things wrong there as well.
Gandhi and his relationship with Bhagat Singh, for example.
The easiest way of making a film or to possess a film is to bring one person down to bring another person up.
So, for instance, make a film on Bhagat Singh, you make Gandhi into a villain. Raj Kumar Santoshi made Bhagat Singh, he made Gandhi into a villain. Absolutely moronic.
But, Gandhi was a great man, so was Bhagat Singh. That’s the difficulty of life. And Gandhi was wrong at particular points and Gandhi was also lucky. At that time, the world, post-world war, needed a man like that.
There was so much violence that the world got tired of it and they were looking for an apostle like that.
When we become adults as a nation, as people, as an audience, then we have to handle the difficult things.
Is Bicycle Thieves a film about post-war Italy? It’s made in that time.
It’s a film at one level about a man who idolizes his father and then that father comes down in his eyes and then he learns to live with his father as a human being. In the end, he holds his father’s hand and they walk. It’s outstanding. That’s the greatness of bicycle thieves. Not that you put some cameras in post-war Italy, you get post war Italy, what else will you get. You put a camera in front of a bombed out Italy, you’ll get a bombed out Italy. What’s the big thing about that. That doesn’t make you a film maker. That’s technology.
You learn from film-makers and not the wrong things. For example, Godard is a great teacher, I don’t think he’s a great film maker. This is sacrilege for some people. But, I can’t help it. This is my notion. I think Godard was one of the greatest teachers of cinema.
So, Godard says, who shoots a film – 1. The director’s vision. 2. Eastman color 3. The art director 4. the camera- the lens 5. the cameraman.
Understand him. He’s trying to provoke you to a thought that technology is not technique. You have a jimmy jib doesn’t mean that’s better technique. You have a good lens, better lenses, doesn’t mean you are a better cameraman. You have better stock today, doesn’t mean you are better cameraman. Someone asked Godard, which is your favourite lens. He replied ” I am not a racist”. Depends on what you want.
Ask Godard, was Mao a tyrant. He says, Mao was a great cook, he fed half of China.
And that’s the difference between Godard and Simpson, the BBC guy who speaks about the world! BBC’s not a bad channel at all. The BBC takes on Tony Blair as well. But, there’s a difference between Godard and Simpson.
Coming back to Khoya Khoya Chand.
The people of the 1950s film industry were special, but I want you to see it in the context of now.
They were young commercial film makers who wanted to talk to an audience, like in Kagaz ke Phool. They were all individuals telling stories that meant something to them. Kagaz ke Phool is about the confusion of being a filmmaker, caught between responsibility and his own passions.
And if as a film maker you manage to do that very well in your craft even if the story is very obvious. Even at that time, they spoke about things that have resonances even today. They were exposing themselves to us and through that their time.
They were influenced but they were not mimicking.
Even today, if you want to be a film maker, be who you are and put that into your film.
If you are an Indian influenced by American popular culture, for instance, be that. Be an Indian who is influenced by American popular culture. Don’t be American. Because you live here, you have a certain kind of home, a certain kind of relationship with those whom you work with. Admit your influences and be who you are. Don’t pretend.
With Khoya Khoya Chand, I want to make a film about the complexity of being in this medium. A film about anyone who is in a difficult place trying to do what they want to do. About anyone who wants to invent themselves in a new place. So I decide to tell the story of a young girl, an actress, the beginning of her life, first fulfilling other people’s notion of her, falling in control of the superstar of that time, and this writer who comes from Lucknow, also from a complicated background who is struggling with his own feudal past and the relationship with his father which is a mess and then coming here.
This is a story of their complicated journey. It’s these two young people caught in the wild world of cinema at that time.
And how do you enter the 50s. I have tried to make a film which is like the films of the fifties. I’ve tried to take the form of that time. But then to make it with our sensibility. So you are not caught by either the technique of that time or the morality of that time.
Then when you are not caught, you are making a film about ‘them’, you are also making a film about ‘us’.
Zaffar, the character that Shiney plays, the writer, is also someone like me and my friends.
Nikhat, can be like many actresses who come in without a background, into cinema, without family support. And it’s the relationship between these two complicated people. Also there’s the idea of ambition versus love in films. There’s an idea that if you can’t work together, then you can’t be together. But it’s two complicated people in this medium. If you are separate in work, you’ll never be together in life, because your work will then carry you towards different people.
I’ve tried taking the structure of a film within a film and carry them over in the film I am making. There is a film they are making, there is a film I am making and I tried to merge them in some way. The writer’s life gets entangled with the film that he’s making. His life enters his film in another way. His background is more revealed through his films and what he writes rather than through conventional flashbacks.
I’ve weaved in some poetry and songs of that time period. Some songs are very referential, like the 50s -60s and there are one or two songs which are our songs with some connection of that time but are not following all the rules of that time. 
The look is very typically worked out. The work of every other person, the art direction is all of very high caliber. It’s my most constructed film.
Usually I made films, whereby if I go to a location, the location tells me where to put the camera. Like Hazaaron, I had gone to almost those places like I am talking about at that time. When you go to a place like that it tells you how to shoot it. In this film I choose how I want to shoot and then you make the set.
I am also making, Tera kya hoga Johnny - a film about three people who wonder what’s going to happen to Johnny, this little street kid who sells coffee on the road.
He wonders what’s going to happen to them. They are all going haywire.
It’s about Bombay now. It’s also interesting to capture this transitory phase in Bombay. How it’s changing. The whole city is changing, in terms of architecture, the spaces. How they are being occupied by one kind of thing – malls, offices, commercial complexes.
The city is being taken over and in this transitory phase there’s this little kid who sells coffee …
(Photographs : Smriti Vij)
57 Responses to “Why am I making Khoya Khoya Chand?”
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I wish you all the best for this movie. I like the understanding, the ideas behind your movies. In a way, its like learning something from a guru who encourages questions, and provides thorough reasoning for any steps. Glad to be on PFC.
Waiting for Khoya Khoya Chand. I must tell you something that I always wanted to tell you about Hazaron Khwaisey Aisi. Its a brilliant piece of work - there is no doubt about it, but what nobody much talks about is its music. I think its one of the finest movie sound tracks to have come out in the last five to six years. Bawra man dekhne chala ek sapna and all other tracks are pure magic. The only other movie soundtrack that can match it is Maqbool. These two albums are worth its weight in gold.
excellent article sir, it is like gold mine for us to read about how to think about movies from you.
hope to read and learn a lot more from you.
I think Gandhi only mythical Gandhi do we find interesting. The mythical Gandhi that the western world interpreted, the myth that inspired Martin Luther King, Mandela, Aung San Suu Kyi among many others and again filtered back to us. Initially, we may have helped in creating the myth but today we understand him as he was understood by the west. Aren
“If you are an Indian influenced by American popular culture, for instance, be that. Be an Indian who is influenced by American popular culture. Don
Best of luck for Khoya Khoya Chand!!! Sudhir ji…
I am still enchanted by your hazaaron Khwaishein aisi…..
Its the most complex and brilliant works that has portrayed that turbulent era so maginificnetly…..
I was moved by the way you have defined movies in your article and will look forward to Khoya Khoya Chand….
Great stuff again.
I don’t know if you check these comments but if you do I think you would like to listen/watch this speech by Australian Filmmaker/Journalist John Pilger.
http://www.democracynow.org/article.pl?sid=07/08/07/130258
This website http://www.democracynow.org is a really good alternative news media.
cheers
**************
Last film - Rescue Dawn(6.5/10)
Last Book - Confessions of a Economic Hitman
Dear Mr. Mishra,
After Reading your article the first question that comes to my mind is regarding the para quoted below…
“All films are in the present, because you are shooting now. So, all this bit about historical and all that is nonsense. There is no such thing as a historical film. You are not history writers.”
All films are in the present agreed but are they so divorced from history? History after all is a continues process,Marxists or otherwise.
And are we not history writers considering that it is indeed history that has shaped not just us but the entire civilisation? We are neither isolated in our experiences and nor in there expressions… everything is in a past continous.
Hoping for a further dialogue.
Thank you.
Awesome…
mr. mishra,
recently i read somewhere that u r making devdas
again and giving it a political interpretation.
i had loved ur hazaron … and hope that u can interpret devdas the same way vishal interpreted
othello.
rani is apt and i wish she acts with u and directors like vishal and nagesh because i feel she is a grest actor and she is bettter than kareena or pretty much everybody else today.
hope u announce ur actors soon and hope that rani works with u.
all the best.
sir, this was a very interesting post but finally what does a viewer see in a hindi film?. i think it is the STORY.lagaan for a viewer like me was a story first and then a ‘historical’. Santoshi’s bhagat singh was a thriller for me. attenborough’s gandhi was a history lesson for me at that time. gandhi my father was a disjointed effort in merging histroy with a father son story. i dont know what i am typing but i am hope i am making some sense.
awesome music composition, especially different flavours of music waiting for the tracks.
I love the look of the film. waiting to see it.
The conecpt of Tera kya ho ga Johnny, sounds very interesting.
Smriti…great stuff from Sudhir Mishra again. its gem man. u r rocking !!( i know u know that bcz everyone tells u so…ha ha ha) n m waiting desprtly for the film!!
n here’s the first promo of khoya khoya chand… for those who havnt seen it yet…
http://www.indiafm.com/broadband/video/Movie-Promos/cwMQfr68/3/Trailer-1-Khoya-Khoya-Chand.html
It’s lovely when an honest filmmaker like you opens up your mind in articles like this…
Just felt like asking: You mentioned about the city of Mumbai going through a transitory process. What changes first? The city? Or the citizens of that city? Is mumbai changing because of the kind of people inhabiting it?
i feel happy to be here - in PFC at this point of time!! Thanks Sudhir for sharing your moon with us!!
1950s were also the time of “Ration” and wheat import from USA.
1950s were also the time of Bimal Roy and 5 year plans.
1950s were also the time of Malaria and Dengue outbreaks.
1950s were also the time of Plagues and World’s united stand against Small Pox.
1950s were also the time of Guru dutt, Dev Anand and Madhubala.
1950s were also the time of Madanmohan, O.P.Nayyar , Shankar Jaikishen and Raj Kapoor.
Looking to get back to the 50s that I have seen only in TV.
May your moon become full.
Hello Mishraji,
Loved your hazaaron khwahisein aisi… the way you treated the subject was out of this world.. i heard somewhere that you are moulding devdas and hamlet into one script to suit to contemporary times. is it true?
Sudhirbhai,the entire historical context is to portray universality ofhuman emotions and anyone getting to copy the technique or morals of
those times would indeed be naive or downright amateur in histhinking..It is always to express the essence and not the detalis..And
filmmakers not adhereing to this fundamental are living in a cocoon or a time-warp..
I agree with you what you said in context of Gandhi and Bhagat Singh..Two great men in their own right, product of their own peculiar
times…to try to force some kind of reconciliation or attempt a portrayal that is either black or white is not the done thing..And
here comes out filmmakers true brilliance that cannot be separated from his convictions.
I had mentioned in an earlier comment to your HKA that it is so far your most accomplished work..with KKC i have this feeling you are
going to go a notch above….Its so nice to read your posts..Enlightening !
Chanced upon this website. I liked your opinion on how a filmmaker can only really portray his perspective which is grounded on a subjective/ experiential context and not some objective reality. Hope you keep on challenging (albeit gently)the feudal powers that be. Here’s to many more Sudhir Mishra films to come!
Nirad, thanx 4 pointing out the music. Even ‘Re Sajni’ was such a wonderful track. Swanand was great!
sudhirbhai,
promo dekha. dil khush ho gaya. waitin to see the film.
Yeah Joyjeet Re Sajni surely rocks like all the other tracks
Dear Mr. Mishra,
The last few minutes I spent reading your post have helped me understand the limited pieces of your work that I have seen so far, than anything that preceded it. Thank you for that.
I have felt for a while now that writing in Indian cinema is rather infantile. Most of the writing is driven outward from the characters. To quote the opening lines from Scorsese’s The Departed, ‘our characters are never products of their environments, their environments are always a product of them’. That takes away any sort of unpredictability, which is a truth of life and thus reality, from our films.
Another reason why our films are very often unidimensional is what you mentioned about us pitching one character over another. We show one good guy, one bad guy. Good guy does everything right, bad guy does everything wrong. Good guy finishes bad guy - simple. Game over! Sadly, we have not quite progressed to the next level ever since.
I sincerely hope you make the best of any leverage that HKA may have earned you, by walking that balance between your passion and the commerce of the medium and bringing to us more films that we, as an audience, are DYING to see.
Anusha,
Nice point on everything being past continuous. Your comment also brought to mind one of my very favourite lines from the Gladiator, right at the beginning when Crowe is leading his army of men into their attack on the barbarians. He goes, ‘what we do in life, echoes in eternity.’
What a wonderfully written line, so much depth; all in 8 words. Fantastic.
Thanks Kartick,
This past continuous business intrigues me no end. One does find sudden breaks too, such as the Partition, though even that has some roots in the events of 1857 and later.
I have been reading somewhere on this site about Talisman a film from VV Chopra’s stables. It is said to be based on Chandrakanta. Just want to let you guys know that Chandrakanta is a Hindi adaptation of the epic stories called the Dastan-e-Amir Hamza. Since dastans were so popular in the period that it was decided to adapt them to hindi to facilitate the use of this relatively new language.Dastan-e-Amir Hamza was printed by naval kishore in 46 volumes…and this is just one story which forms the pantheon of the dead oral art form called DASTANGOI (story telling).
Some of here in Delhi are trying to revive this art form for the past some years. It has been a very successful experiment. Anyone interested in the form can check out details at
http://dastangoi.blogspot.com/2006/03/introduction-to-dastangoi.html
Dastans went on to influence Parsi theater in a big way and of course Hindi films subsequently. All in a past continuous, I say.
im numb. kkc seems to be something like the story of my life goin on rite now.
as always to me, ur writing is revelatory.
thanks for sharing ur thoughts
@Anusha,this is revelation..Chandrakanta being adaptation from an epic stories collection Dastan-e-Amir Hamza..thnx 4 this gem of an information.
i saw metro last night and am disturbed by it ….not by what it showed but because its a a film where all characters spend too much time justifying themselves….it leaves nothing for interpretation.
what also disturbs me is that people raved about it when it was launched ….and now i have a theory on that …bollywood usually puts love on a pedestal …the filmy version of love ..and so in a perverse way when a movie rubbishes human relationships and the filmy notion of love we lap it up and think its real …reality as usual lies somewhere in between the two extremes….
@Sumeer, completely agree with you. I could never understand whats so great and worth-raving about Metro.
Dear Sudhir Sir,
I completely agree with you that better technology does not make you a better craftsman, but still technoloigy plays a vital role in film making……… To capture the right emotions, you definetly need the right technology.
According to me,a good craftsman mekes his film great with good technology!
Hi Sudhir,
I loved your “Hazaaron…”, not just because it is a great movie, but also an authentic documentation of post-independence India. Very impressive indeed. The one film I can think of that is comparable to this is Garm Hawa. Yours is one we could relate better, considering the timeframe it captured.
What surprised me recently, however, was the Interview of yours I read in Rediff. You were talking about your version of Devdas, and there from what you said it seemed like your reference is not the novel but Sanjay’s film version. In the book, Devdas never went to London/UK, that happened in the movie. And I wonder what’s so special about this book that inspires you guys so much. Sorry for being so direct while I talk about your passion, but I believe someone who made “Hazaaron…” is a rare talent in the filmland of ours, and he needs to apply his immense talent for better stuff.
Regards,
Raj
Sudhir, ur defence of sending ur friend’s film Eklavya to oscars and in past Giving Saif national award for Humtum just proves that U R NOT DOING UR BEST TO NOT TO BULLSHIT. u lost a big fan today. what do u care anywy.
what about black friday- it was more complex, more topical and technically more sound for oscars. r u jealous of anurag kashyap??? or is it that chopras of the industry are now funding urself…choosing eklavya is disgustingly corrupt…
Mr. Mishra
I think you forgot the promise you made while you were giving a name to this column- Trying my best not to bullshit. Or were you being ironical, as befitting a man of your intellectual stature?
A few points to your post
This is in reference to Mr Sudhir Mishra’s provocative statement:
“All films are in the present, because you are shooting now. So, all this bit about historical and all that is nonsense. There is no such thing as a historical film. You are not history writers. Every film is in the present. We use a place, time, an atmosphere, an ambience and people to talk about things that you want to talk about.”
Firstly, the argument about the films being caught in an eternal present
Panini, that is the best dissection of cinematic past-present-future that I have come across recently.
hi sir ,
I had some mixed emotions after watching ” Hazaaron ..” . I saw the trailer of “Khoya Khoya Chand ” & they were uite interesting , I hope it wont leave me with same feeling as “Hazaaron..” did . Still I think “Hazaaron ..” was a great movie and I hope this one would be even better . If possible please answer my one question , what made you cast Soha for the role ? Best of luck for the movie . I’ll for sure watch it in Theater as soon as it releases.
When’s the soundtrack releasing.. really looking forward to the title track!!!
i am like really really awaiting khoya…
This is my first time on this blog. Though I’m not a big movie fan, I like your kind of movie-making. Your article made me understand that movie-making too can have the kind of subtility other art forms have. Really waiting for Khoya Khoya Chand. Keep up the good work:)
Hello Anurag!!!
I saw No Smoking y’day…Thought is was pretty intense story telling…i want to see it again…but somehow i thought it was it loosing it’s grip when “K” was around…Just want ask you why did you pick JOHN and not any one else?…precisely an actor.
I could call you comrade. But i am not sure if the word holds any meaning for you, anymore. Like the many who have today made a profession out of been-there-done-that of the Naxal legacy, i fear you may too object to that term of reference. But that is not really the matter.
I liked Hazaaron Khaahishein Aisi. Nothing special in that i know. Many others did. But i wanted to communicate to you the raw impact the film can have on many who will continue to watch it. I am not sure if many in this country even understood the metaphors you used. But i guess you will keep producing them. I am glad you will.
Dear Sudhir Mishra
Best of luck for “Tera kya hoga Johnny ” It sounds good and innovative.Is it original Idea, not taken from any Hollywood movie? just have a doubt.don’t mind….
People do not work on a blank slate. There is something called prior knowledge that all writers bring to the table. Nothing wrong in being inspired. Its only when people like Vikram and Mahesh Bhatt intentionally copy stories frame by frame, that there is a problem!
Bhagat Singh and Gandhi
“God forbid that India should ever take to industrialism after the manner of the west… keeping the world in chains. If our nation took to similar economic exploitation, it would strip the world bare like locusts.” - Gandhi
“The aim of life is no more to control the mind, but to develop it harmoniously; not to achieve salvation here after, but to make the best use of it here below; and not to realise truth, beauty and good only in contemplation, but also in the actual experience of daily life; social progress depends not upon the ennoblement of the few but on the enrichment of democracy; universal brotherhood can be achieved only when there is an equality of opportunity - of opportunity in the social, political and individual life.” - Bhagat Singh
Gandhi when asked whether he was a Hindu he replied
“Yes I am, I am also a Muslim, a Christian, a Buddhist, and a Jew.”
Bhagat Singh in his essay “Why I am an atheist?”
“Not only the Oriental and Occidental philosophies differ, there are differences even amongst various schools of thoughts in each hemisphere. Amongst Oriental religions, the Moslem faith is not at all compatible with Hindu faith. In India alone Buddhism and Jainism are sometimes quite separate from Brahmanism, in which there are again conflicting faiths as Arya Samaj and Sanatan Dharma. Charwak is still another independent thinker of the past ages. He challenged the authority of God in the old times. All these creeds differ from each other on the fundamental question., and everybody considers himself to be on the right. There lies the misfortune. Instead of using the experiments and expressions of the ancient Savants and thinkers as a basis for our future struggle against ignorance and to try to find out a solution to this mysterious problem, we
sirji kaha ho aap missing u on bloggosphere ??NS aa k chali gayi sabko smoke kar diya aap bhi to kuch bolo ??????
waiting for ur post
Sorry for off topic but if Mishraji Sir is reading this, then there are 2 comments for him at this link. I’d appreciate if he reads them, they might be relevant for him. Thanks.
Dear Sudhir,
Thanks for this.This is the best post I have read here for an aspiring film maker.
I am planning to shoot my movie early next year and it would have been a real miss had I not read this.
Keep posting and inspiring.
Regards
Sudhir, [admin note: comment partially edited. Please do not use the comments sections to ask for work from authors]
Its so, soothing to listen to speak. It was terrible to watch Hazaaron Khwaishein Aisi. I wanted to dig a hole and bury myself in it. It was so non insulting to one’s intelligence, one’s sensibilities and one’s capacity to think/explore/participate. Thank you.
i failed to understand why so many of the dialogues of Hazaron were in english (its set in the 70s) .. can anybody enlighten me
Sudhir Ji,
Just finished watching your film. Am yet to come out of it, emotionally :). But, I have a few complaints…
1) I felt that the end was quite sudden, without any explantions
2) Nikhat having a hole in the heart - I felt - was contrived…. filmi…
3) None of the people are shown ageing… not even a bit. By ageing, I don’t mean grey hair… I mean ‘growth’ or change as a person, after going through the experiences that they do. (I might be wrong here, but I definitely expected Zafar and Nikhat to have some kind of change in them… the kind of change that Shyamol had…)
There are some things I did not understand though… what happens to Shyamol? Maybe it is the actor(Vinay Pathak is fab!)…. to me, he became one of the main characters in the story. Also, since he was narrating the story, I expected him to do it till the end. Why did he stop narrating, just before the film ended? I wanted to know what he felt when Zafar re-enters Nikhat’s life. If not in words, at least expressions. There was too less of him post the hospital scene. Why was Zafar rude to him? When he himself left Nikhat and went away, why did he have to be rude to Shyamol? Especially, when he was a lot better with Prem Kumar earlier and had already had a talk with Shyamol, regarding Nikhat and Shyamol. I failed to understand that outburst of his.
Also, personally, I felt…. Sushmita Mukherjee deserved more screentime :). This is totally personal and nothing to do with the movie. Her role was perfect in it… but I love to watch her onscreen and simply wanted to see more of her. Fabulous casting!
Will be happy if you can take some time to answer my questions…. will help me understand the film better.
I liked Khoya Khoya Chand a lot.It is your most balanced film yet. Flitting between the darkness of the technicolor world of an era and the forced brightness of life under the spotlight.The cast is admirably well chosen and the periodicity not overdone. Obviously the multiplex crowd would not be overwhelmed by this film, they believe that Akshay Kumar and Hrithik Roshan are actors of note, which is akin to a cinematic suppository. Keep it up and resist the desire to pander as always.
hello sir…i am an actor of repute from kolkata television and theatre,bengali and english.i have done some hindi work on tv too.reacently i have become a household name for my chrachter of DR.SHURJO SEN IN MR RAVI OJHA’S MEGASERIAL KHELA IN ZEE BANGLA!i met you for the first time during the auditions of SAHARA’S mr and mrs bollywood in delhi hyatte in 2004.i sincerely want to work with you but dont know how to get in touch with you.PLZ GO THROUGH MY ALBUM POSTED IN ORKUT FOR THE PRESS ARTICLES AND PUBLIC OPINION OF MY WORK if you want to.
BOBBY CHAKRABORTY(9831132241)
My take on any aesthetic medium is to understand yourself through it.Become a better human being.That is what art doest to a human.Gives him/her fredoom after he/she has xpressed himself/herself.As an architect/actor/(amateure composer)….. i have come to the conclusion that whatever i do or i am is not important at all.cause it was not done with an intention ,it just happened….i hope to be an actor and make films where things just pass me by.I Love ure films Sudhir(Its always a dilemma to address u as sudhir or Mishraji….. i leave myself behind).
dear sudhir sir how r u? i m RAJEEV son of mr. chandrika prasad yadav (employee of K.K.C. College)Lucknow I have a story about world biggest invention a wonderful machine which was made by a french scientist before 350 years, by some reason it got damage and very few persons know this matter. from that time till present no any scientist could make that, but this is the most needful invention of present world.it was important than the invention of computer and electricity. I include in this story love, imotions, comedy, tragidy,suspence,very good songs,and a very needful world issue which is the soul of this story like the film “KOI MIL GAYA” ,but it is different story.
i hope that u will give importance to me.
PLEAS CONTACT ME AT—-
RAJEEV YADAV
532/34 kha mehandi tola, Dandaiya bazar, Aliganj, Lucknow
Mob- 09936067819
email-luckyomtader@rediffmail.com
Hello Mr. Mishra,
I look forward to Tera kya Hoga Jonny…the theme looks evry tempting and the backdrop of an engimatic city of Mumbai is a joy for ever.
Wishing you every success - the kind you like
Warm regards
Sudhir