Such a sweet review 󾌧 Thank you very much. Krishna D. 󾍛

Blast from the past - The right direction

The right direction.

For four years Rakesh Anand Bakshi woke up each morning with one purpose. He would spend his days either meeting some of Bollywood's directors, manically editing their interviews or persist at getting a response from those who had not given him an appointment yet. This was all for his labour of love-his book Director's Diaries: The Road to Their First Film. "For the first two years I didn't even have a publisher, and I never hid this fact from the directors I was meeting at the time," admits Bakshi. But then Harper Collins's Shantanu Ray Chaudhari read his proposal and jumped at the chance to publish the book.

Bakshi, son of lyricist Anand Bakshi and an aspiring filmmaker himself, traces the origins of the book's concept to his own frustrations at not being able to successfully direct a film when so many others "without any background in films managed". An avid reader, he'd read everything related to film he could possibly get his hands on. "But there seemed nothing on the lives of these filmmakers.

It was important to make their voices available to all those who are looking for motivation, inspiration and knowledge," he believes. Indeed, with the insight we get into the childhoods and early influences of each of the directors, be it Govind Nihalani's tryst with the partition or Imtiaz Ali's aimless adolescence, it is easy to draw inspiration from Bakshi's interviews. Perhaps not all the directors had a tough childhood, but candour was the one thing common to all of their stories. Farah Khan talked of how she'd avoid coming home because her father would rent out their hall to card players, and Mahesh Bhatt was just as open about growing up with a Muslim mother while having a Hindu father who never stayed the night. Subhash Ghai, on the other hand, talked of how his love for music saved him from drowning emotionally. In school he was attracted to art, music, dance and drama, and his teachers adored him.

In the chapter dedicated to Khan, Bakshi writes, "I laughed the most during her interview." But when you ask him about it, he adds, "I couldn't put in most of what she said. She poked fun at a lot of people, in the sense that she spoke about the duality of some of the people in the industry and how fickle that world is. How they treat you depends on how well or badly your film has done. I could relate to what she said. On my dad's birthday, sometimes we'd have to pick our way through the bouquets all over the house. And then there were times when we didn't realise it was his birthday because no flowers or phone calls had come. When Farah's father was bankrupt, people just stopped visiting them overnight," reveals Bakshi.

From the four to five hours he spent with each of the directors, Bakshi was left with 25,000 words per interview. "I had to edit so much," he rues. In fact, of the 33 directors he interviewed, only 12 could be featured. "I made sure I spoke to directors who'd grown up in smaller towns like Bhillai or Jamshedpur or Patna. Imtiaz Ali told me, 'You keep asking me whether it was my dream to be in films. Let me set the record straight-I'm from Jamshedpur. Growing up, I could never have dreamt that I would be here one day!' There must be so many like him across the country," says Bakshi.

If this book does well, the plan is to publish a second volume and eventually if Bakshi has his way, each director will get a book dedicated to his life and work. Hopefully volume two will feature Raj Kumar Hirani too, one of the directors Bakshi hasn't been able to interview so far.

While a few of his readers have questioned Bakshi about choosing to feature directors like Farah Khan despite the populist cinema they adhere to, he is quick to defend his decision. "There's so much poverty in this country and for so many, the kind of films she makes is the only entertainment they have," he says.

So sincere was Bakshi as an interviewer and his dialogue with the directors so immersive, that several even thanked him for taking them down memory lane. After the book was published, Vishal Bhardwaj thanked him saying, "I came to know or rather discovered so much about myself." Anurag Basu and Ashutosh Gowariker were both thrilled at being "immortalised" through the book. But Bakshi believes he has gained the most from the experience. "I know now that you can't make a movie if you're not fearless. And if I were to do something differently on my own first or any other film it would be walking into it with the belief most of these directors has bequeathed to us readers-it is okay if you do not know everything," he concludes.

- Moeena Halim.

India Today (by Moeena Halim) July 27^th 2015

http://indiatoday.intoday.in/story/the-right-direction/1/452122.html

Shyam Benegal on 'why directors' '

#ShyamBenegal : Why directors https://youtu.be/3-u3GRgkt8E

#DirectorsDiaries #RakeshAnandBakshi

166th beneficiary - those who dare to etch their dreams in the sky, are really showing the courage and faith that their dream will come true.

166th beneficiary of help (Livelihood bicycle)

"... those who dare to etch their dreams in the sky, share them with others, even a stranger like me, are really showing the courage and faith that their dream will come true."

Rakesh Gawde (27)

Newspaper delivery and Electrician

Rakesh lives at Khar East, Mumbai. They have a joint- family house at Malwani, Sindhudurgh. He delivers newspaper early mornings, and works as an Electrician in the day with his uncle who has employed him.

Rakesh’s father, once a security guard, watchman, suffered paralysis (because of acute diabetes) three years ago. He can no longer do any job and is home-bound.

Rakesh is educated till higher secondary, HSC, twelfth standard. His mother works as a house help. His father can move around, but is unable to work productively.

Rakesh has two brothers. His elder brother is an accountant, and his younger an ‘office-boy’, peon. I thought, he seemed a bit embarrassed, speaking about his younger brother’s profession of being 'just an office-boy'. All four members are working to support their family, a matter of pride I thought, in a nation where those below the poverty line amount to as many stars as we can count in the sky on a crystal clear cloudless summer night.

Rakesh has done an electrician’s diploma course, and has been working with his uncle. His uncle is not giving him a raise. I advised him to leave his uncle asap, and become independent. This new cycle being donated to him will help him commute for work without expense, and make him independent of his uncle too. He agreed.

We can only hope, that by giving him a bicycle, for which he voluntarily contributed nearly half the cost, it will hereafter share his livelihood burden. Because working with his uncle, and delivering newspapers, will not help stretch his hands towards his dream.

His dream – to help his father recover from the paralysis completely, and his mother should no longer have to work at someone’s home.

Dreams.

Dreams are about the yearnings that are held deep inside us. Some of these desires are so secret that we dare not share them even with our closest friends. Or with a stranger like me.

And those who dare to etch their dreams in the sky, share them with others, even a stranger like me, are really showing the courage and faith that their dream will come true.

Thank you Laxmikant Kshirsagar for purchasing this bicycle for Rakesh. Rakesh contributed nearly half its cost.

Thank you to Kohinoor Cycles (http://kohinoorcyclestores.blogspot.com/) Siddharth Vora (https://www.facebook.com/siddharth.vora.58?fref=ts) for the good service.

#RakeshAnandBakshi https://twitter.com/RakBak16

#BicycleAngels:

FB https://www.facebook.com/groups/309043432570135/

WordPress http://bicycleangels.wordpress.com/

Beneficiaries of help: https://www.facebook.com/media/set/?set=oa.357090647765413&type=1

#BeautifulBicyclesBeautifulPeople

A R Rahman

#RakeshAnandBakshi #ARRahman ❤️ #DirectorsDiaries

The directors’ on Cinema & Filmmaking: https://www.youtube.com/watch?v=R8bnPI95HCs

The directors’ Beginnings: https://www.youtube.com/watch?v=lgbvst-mhOw

The directors’ Convictions: https://www.youtube.com/watch?v=uQgoJwP1sd8

The directors’ Challenges: https://youtu.be/1BmjGGurM5U

Imtiaz Ali’s 1st film being his film school & our book: https://www.youtube.com/watch?v=fzC18coaoLw

Zoya Akhtar on being a 1st time film maker: https://www.youtube.com/watch?v=dsdg8UNfwKs

Shyam Benegal on ‘… Why directors’..’ : https://youtu.be/3-u3GRgkt8E

WordPress http://rakbak16.wordpress.com/

LinkedIn https://www.linkedin.com/in/rakesh-anand-bakshi-0453b437?trk=nav_responsive_tab_profile

RJs' Diaries with Radio Host Filmy Chokri Apurva (Radio City, Pune)

RJs (Radio Host) Diaries with #DirectorsDiaries

Filmy Chokri aka RJ Apurva (Jhadav) Radio City – Pune, in a dialogue with #RakeshAnandBakshi

Strangely, I found out that the term ‘rj’ to address people of her profession, of being a radio host, is in use only in India and Pakistan. World over they are most commonly termed ‘Radio Hosts.’


Apurva was born in Kolhapur, and brought up in Kolhapur and Mumbai. Eventually, the family settled at Pune. Her father is a government employee, and her mother is a business woman.


The radio played from even before she brushed her teeth
Her childhood memories of the radio playing are from the time the household awoke to the early morning devotional bhajans playing on AIR and or Vividh Bharati. Most Kids then still woke up to hearing radio, and not tv shows, during her formative years. “…. some of the rjs’ that spoke on these government owned channels were so pale, drab and boring, that I waited for them to start playing the songs.” (laughs) Her mother being a song buff, the radio played practically through the day and night.

I think, subconsciously her mother choice of daily entertainment and realisation must have influenced this ‘filmy chokri’ as a child.


Hooked
When Apurva reached her teens in the 90s, the Indian airwaves opened to private radio fm channels and they arrived like a bolt of welcome thunder and lightning for her. The manner and style of rj-ing by these privately owned radio stations, Mirchi and Radio City, was revolutionary. Their fast paced rants, nonstop random chatter, interesting contests for listeners, and very interesting advertising spots, made fm listening fun for her. Apurva was hooked to this new style of sound waves coming out of her radio.


The seed
When the private radio fm channels arrived, it was her mother who may have laid the first seed that a decade later germinated in her taking birth as a rj. Her mother suggested to her to give an audition as an rj, when she found out they were hiring. Apurva did not entertain the thought and went on to graduate in media studies from a college at Pune.


Chai and Coffee wali
However, for her internship, Apurva chose to work for Radio City, Pune. She never thought of becoming a rj, but liked the idea of working for them. “My very first intern-job, in those days internship was unpaid, included doing all the minor & technical jobs involved in radio broadcasting. As an intern one had to do everything, and we did, happily. Unlike today, many interns arrive with certain preconceived notions that some things are too lowly and out of bounds for them to do as interns. Sad. Nowadays, I think because everything is becoming so easy to get, so much is available on smart phone apps instantly, interns want to achieve great jobs and success as easily as ordering a pizza or booking tickets online.”, she laughs and laments.

Angels
“Jeetu Mahatre”, says Apurva, “is one of the angels of my professional life. When I was interning with Radio City, it was Jeetu who saw in me something I did not see in myself. He goaded and prodded me. He pushed me to polish my interview taking skills.”

The second angel she credits her career graph and growth to is her ex-boss, Meenal Patil. Meenal gave Apurva her first break as an rj, and the name that she gave her, ‘Filmy Chokri’, stuck. After her first few shows as an rj, some people criticised Apurva, saying uncomplimentary things like “… Apurva’s voice is ‘cartoonish’, like a caricature. Get her off air, she is unsuitable to be a rj…”
However, Meenal stood against the criticism like the formidable Everest, and trusted filmy chokri to continue her filmy radio rants.

“I feel immense gratitude to both these people, as they helped me prove my worth. Because, I confess, I too had felt then I do not have a smooth flowing voice of a rj. But their confidence and unrelenting faith in me helped me sail my boat over my own lack of confidence in myself.”
When critics labelled Apurva’s voice as ‘cartoonish’, it was Meenal who stood by her in defence and defiance and said her voice is unique, and hence noticeable in a crowd of voices.
Bravo to her vision, is what I thought of Meenal on learning this.

That reminds me, that is exactly what my own father, lyricists Anand Bakshi, had once told as aspiring singer who approached him for advise. When the young man had said he sings like Mohamad Rafi, Anand Bakshi had told him … “If I want to hear Rafi, I will hear one of the many songs of his I have in my collection. Why will I hear you? The day you find your own voice, you will became a successful singer. Go find your own voice.” Your uniqueness is what will make you stand apart from the herd.”

Asked to dedicate a song to Jeetu and Meenal, Filmy Chokri says “Musafir hoon yaaron from Parichay, is for Jeetu. Every word describes him. And for Meenal, it would be Ru Ba Ru from Rang De Basanti. She is like that song. Her energy is infectious.”

Hello Mikey
Apurva wishes her mike when she arrives in the studio, “…. Hello Mikey, how are you today.” Accompanied with a kiss. (Smiles)  She feels her mike has a soul, and absorbs her feelings and emotions and that is how she is able to pass them on to her listeners. She has a way of saying goodbye to her mike when she signs off her show, “talley ho talley ho…” accompanied by a kiss. Her show is aired from 11 am to 2 pm daily.


A happy listener, a grateful mother
One of her most valued listeners is a mother and child. The child is paraplegic, and hence mostly home bound to a wheelchair or bed. The mother had told Apurva, “… my son smiles when he hears you on your show.” This made her cry, and this duo remain her most valuable listeners. Because she never thought that someone like her who has a non-rj kind of voice, allegedly a cartoonish tonal quality, and rants about Bollywood, punctuating her rants with sarcasm, could make a home bound paraplegic child smile, and bring him happiness.
This is a sincere compliment, I thought, that no amount of money and expensive PR-machinery of social media can buy for anyone.

Asked to dedicate a song to this mother and son listeners, she says “Ruk jaana nahin tu kahin haar ke, from Imtihan. May his strong spirit and that in this song keep him going.”


Kolhapur chi mirchi aka filmy chokri
Any special diet for her vocal chords? No! She eats anything and everything her taste buds overwhelm her with. She is not conscious about things that other professionals, like singers, are very careful about - not eating cold things or chillies. In fact, she loves chillies. The famous theeka Kolhapuri ones. (laughs) “I like the most theeka food. It is just like the theeka sarcasm on my show” (laughs even louder)


Sense of humour or sarcasm
I think a good sense of humor is very important for a rj. Maybe because some of my favorite rjs are the ones with a great sense of humor. Apurva told me, “Humor or sarcasm. Choose one of these two, I would say, to be a rj. I chose sarcasm.” (laughs)


Favorite song
Rjs play requests from listeners, often the favorite songs of their listeners. I asked the filmy chokri her favorite song. “Chak Dhoom Dhoom” from Dil Toh Pagal Hai, she mentioned as her favotite. Written by lyricists Anand Bakshi, I proudly mentioned to her. (Smiles)
She said, “it’s my favorite because the lyrics encompass all those little things, like the Elephant, his tail, the forest, the cloud burst, the swag of an Elephant, the Horse…, reminds me of the lovely song from Sound Of Music, the lyrics – These are few of my favorite things. The heroine, Madhuri Dixit, and even Karishma Kapoor, are my favorite heroines, and I think I am a mix of both their characters in that lovely film. So I would like to award this song as one of my favorite ones.” (Big smile)


Directors’ Diaries
I was keen to know what she thought of our book. She said, “It is an important read. It portrays the struggles behind the successful film directors, and the anecdotes from their lives are unknown and inspiring. My uncle, who was recovering from Cancer, told me that reading about the lives of these directors made my own pain and suffering less, and I think that by itself says a lot about what this book means to me, my family and can mean to scores of other people, who are not necessarily from filmmaking and media.”

Asked to dedicate a song to our book, she says – “Yeh honsla, from the film Dor. The song inspires one to move on against all odds, and that is what the book did for my uncle too.”


Favorite film director
“…. Farah and Ashutosh, I love. (Smiles) One makes truly filmy entertaining fun films, and the other makes the best historical drams. Yet, my favotite to name would be, Gulzar Saab” Apirva finds his movies, though he has not made a film in a long time, as timeless classics.  “My favorite Gulzar film has to be Ijaazat, 1987; the minutest of emotions, and a story which no film maker would have dared to make, only Gulzar saab could have done justice to it. The music, casting, lyrics, everything is just how it should be - perfect.” (Smiles)


Actor
According to me most rjs modulate their voice well, and so do actors. So, is Apurva keen to be an actor, someday? “Yes! I would love to, That’s if anyone is looking for a fat actor with a cartoonish voice!” (laughs)

And that for me defines this filmy chokri. – Her ability to be self-critical and create humor from oneself. Both these qualities can keep us grounded and compassionate, I think.

Finally, Filmy Chokri’s parting note –
“Meri awaaz parda mere chehre ka...
Mujhko wahan se suno, jahan se main khamosh hun.
- Late Nida Fazli saab.

“talley ho talley ho…”
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#RJsDiaries with #FilmyChokri

#RakeshAnandBakshi
https://www.linkedin.com/in/rakesh-anand-bakshi-0453b437?trk=nav_responsive_tab_profile

#DirectorsDiaries https://www.facebook.com/DirectorsDiaries and https://www.facebook.com/DirectorsDiaries

The directors’ on Cinema & Filmmaking: https://www.youtube.com/watch?v=R8bnPI95HCs

The directors’ Beginnings: https://www.youtube.com/watch?v=lgbvst-mhOw

The directors’ Convictions: https://www.youtube.com/watch?v=uQgoJwP1sd8

The directors’ Challenges: https://youtu.be/1BmjGGurM5U

Imtiaz Ali’s 1st film being his film school & our book: https://www.youtube.com/watch?v=fzC18coaoLw

Zoya Akhtar on being a 1st time film maker: https://www.youtube.com/watch?v=dsdg8UNfwKs

Shyam Benegal on ‘… Why directors’..’ : https://youtu.be/3-u3GRgkt8E

Review. From the heart of a teenager.

#DirectorsDiaries travels to #Rome #Italy with Italian filmmaker/director Chiara Sambuchi

#DirectorsDiaries travels to #Rome #Italy with Italian filmmaker/director #ChiaraSambuchi

http://www.imdb.com/name/nm3936612/

Chiara with our little book at the top of the Gianicolo, which is the highest hill of Rome - the fountain behind her is called Fontana Dell' Acqua Paola, and is a strong and traditional symbol of the eternal city.

I saw Chiara's film, The City of Women - Today (2012)

and LOVED it. The diverse women she featured and deep insight she gained was interesting and moving. The City of Women - Today, focuses on the women of contemporary Italy as a symbol for all other women as the tip of the iceberg of a putative new femininity, illustrates its patterns of behavior and with this, undertakes an intimate search for feminine identity in the 21st century.

Chiara was one of the earliest directors I shared the idea of our book with, and her finding my subject interesting also encouraged me on my path to our book.

Thank you Chiara.

Thank you #SanjeevMehta

Thank you #RichaPallodBajaj

The directors’ on Cinema & Filmmaking: https://www.youtube.com/watch?v=R8bnPI95HCs

The directors’ Beginnings: https://www.youtube.com/watch?v=lgbvst-mhOw

The directors’ Convictions: https://www.youtube.com/watch?v=uQgoJwP1sd8

The directors’ Challenges: https://youtu.be/1BmjGGurM5U

Imtiaz Ali’s 1st film being his film school & our book: https://www.youtube.com/watch?v=fzC18coaoLw

Zoya Akhtar on being a 1st time film maker: https://www.youtube.com/watch?v=dsdg8UNfwKs

Shyam Benegal on 'Why directors’: https://youtu.be/3-u3GRgkt8E

.... such was my passion for reading. - Salim Khan

"I was so found of reading, so passionate, so junooni, that I would read even the old newspaper half page that samosas came wrapped in, when we bought samosas or bhajias from the halwai, and only then discard the wrapping, least I miss out on something interesting published.
I read everything I encountered, any where."
- #SalimKhan

Such a passionate person can become a writer, I believe. Salim Khan has described 'directors' in our books' Introduction. Thank you Sir.

#DirectorsDiaries
--------------------------

The directors’ on Cinema & Filmmaking: https://www.youtube.com/watch?v=R8bnPI95HCs

The directors’ Beginnings: https://www.youtube.com/watch?v=lgbvst-mhOw

The directors’ Convictions: https://www.youtube.com/watch?v=uQgoJwP1sd8

The directors’ Challenges: https://youtu.be/1BmjGGurM5U

Imtiaz Ali’s 1st film being his film school & our book: https://www.youtube.com/watch?v=fzC18coaoLw

Zoya Akhtar on being a 1st time film maker: https://www.youtube.com/watch?v=dsdg8UNfwKs

Shyam Benegal on 'Why directors’: https://youtu.be/3-u3GRgkt8E

Actors’ Diaries with Vipin Sharma. The actor-director relationship.

Actors’ Diaries with Vipin Sharma.

“Good directors let you be after they have expressed to you all that they need you to know about your character. Then they allow you the space, the liberty and the choice to explore. Becoming your travel companion on the journey of your character’s arc.” - Vipin Sharma.

Vipin Sharma was born and brought up in Delhi. His parents are not from the filmmaking or theatre profession.

The stranger selling tickets:

Vipin was 18, selling tickets outside a theatre in Delhi that exhibited Hindi and Punjabi plays. Besides him, there was an old man selling tickets for a Hindi play. He observed Vipin selling tickets for a Punjabi play which was known for its comic vulgarity, and asked him simply out of good hearted concern, “This Punjabi play that you are selling tickets for, can you see it with your parents?”

That made Vipin ponder. He says, ‘That man was an angel for me. He, unknowingly, pointed me towards Hindi theatre, which then was known for refined and intellectual content. I gravitated towards Hindi theatre only after this encounter with that complete stranger.” (smiles)

I think, Vipin is in this profession today also because of that old man’s moral question, besides the choices Vipin made on his own accord.

The seed - realisation of a more meaningful performing art:

Vipin knew someone working at a radio station in Delhi who was studying at the NSD (National School of Drama, Delhi) He invited Vipin, via a India Post card, to see their final year theatre production.

Vipin went to see the play and at this event he saw actor Amol Palekar. Amol Palekar was a star actor. The play was excellent, and the crowd was dignified and refined, which Vipin found to be a contrast to the environment he had witnessed watching Punjabi theatre plays.

The atmosphere he experienced during this Hindi play influenced Vipin greatly, cementing his desire to belong in the world of Hindi theatre. Vipin decided to learn acting professionally at the NSD. He soon gave the entrance exam and got selected at the very first attempt. He left his college graduation midway to enrol at the NSD.

Realisation of a finer craft:

When Vipin was studying at the NSD, Film Appreciation was a part of the syllabus. He saw innumerable foreign language films, along with English ones, and films belonging to other languages from India. He was always a great fan of actors from Hindi cinema, Amitab Bachchan was amongst his favorite. But during his NSD years he got introduced to great actors from European cinema. Their talents and craft influenced him greatly.

The European actors influence:

He discovered the foreign (European in particular) actors were more subdued, subtle and less melodramatic than the star actors belonging to mainstream Hindi cinema. Watching these foreign actors perform he identified more with them than the actors he was familiar with and fond of from mainstream Hindi cinema.

The travel bug:

After NSD, Vipin felt acting is not for him, and the travel bug in him overpowered him. Kind of a lost soul, he travelled around India a lot and then to Berlin, Russia and Canada. He worked as a professional video editor in Toromto for a few years. Even though he was making a decent living off editing in Canada, the thought of acting in films never left him. He began to feel he must go to Mumbai and try his luck in films.

Irrfan & Maqbool - arrival of a new breed of fillmmakers:

Vipin happened to come to Mumbai on a visit from Canada, and met his friend, actor Irrfan Khan. Irrfan’s Maqbool (2003) was releasing and he suggested Vipin watch it, saying, “Filmmakers nowadays are making very different kind of films. You will like it.” Irrfan is also a NSD graduate.

Vipin saw Maqbool and was highly impressed with it. He confessed to Irrfan that even though he is quite settled as an editor in Canada, he often thinks of returning to Acting, but fears it may be too late. Irrfan suggested Vipin settle in Mumbaai if he wants to become an actor, because without being present personally it will be very hard to get a break. Because people here are not very good at responding to phone messages and emails.

A criticism that could have pulled him down:

But a senior actor and friend in Mumbai told Vipin he should not try in films, because by staying away from the field for nearly a decade he must have forgotten the craft of acting. His friend’s comment bugged Vipin, and he returned to Canada with the thought that he must reboot, refresh, his acting skills by enrolling in an acting workshop.

Vipin continued to work as an editor in Toronto, but a singular thought kept reappearing, “I will not die an editor. There is something else in store for me in life.’

Sanford Meisner’s acting methodology:

Eager to refresh his acting education in Canada, Vipin came across a workshop for actors on Meisner’s acting methodology. This workshop experience, he says, ‘…changed my life. I felt I can act. The experience and knowledge of Meisner’s methodology gave me the confidence to return to Mumbai and try my luck in films.’ (smiles)

Vipin reflects, “Meisner’s acting methodology made me realise that the name given to the acting profession, ‘Acting’, is incorrect. Because good acting is not really acting. It’s listening, feeling and believing. The ‘reality’ of doing is what good acting amounts to. Not ‘pretending’ to listen, but actually listening to your co actor/s, would make you perform the role, the character, more believably. I would suggest people who are ambitious to become actors look up Meisner’s teachings in film libraries or online. Although Meisner had himself said, reading my book will not help.”

Here is a link for a quick insight to Meisner’s acting methodology (http://hhsdrama.com/documents/07WebSanfordMeisneronActing.pdf)

Workshops:

Vipin has sometimes conducted workshops in Meisner’s acting methodology for actors like Chitrangada Singh, and some others, when requested by his friend and director Sudhir Mishra, during the script rehearsals/pre-production of Sudhir’s Yeh Saali Zindagi (2011). He still conducts these workshops on and off when invited.

First film:

Armed with a renewed self-confidence Vipin arrived in Mumbai to become an actor, just as Irrfan had advised him, “… be present in Mumbai to be an actor here.”, and soon bagged a role in a prestigious production, actor Aamir Khan’s (first film as director) Taare Zameen Par (2007) was Vipin’s first film as an actor.

My take:

This was the first film I ever saw back to back twice in a cinema hall. And the character of the troubled father played by Vipin was not acting, but reality for me. My hat off to even the script writer of this awesome film, Amol Gupte.

The actor-director relationship:

Vipin feels that directors who allowed him the ‘space’ to explore a scene and or character managed to get really good performance out of him. “A good director allows an actor part ownership, or sometimes complete, of the character, and will not dictate nor spoon feed the actor about how the character will think, talk and move. A good director may only go to the extent of offering suggestions and or options/choices to the actor, and not beyond. When a director allows his actor such privileges, the actor will be able to deliver a far better performance than what even the actor may have expected from himself or herself.”

I think, directors who know their script and character really well have the ability to give an actor choices, allow them to explore beyond their own expressions. These directors are not insecure about themselves. However, if the actor is limited, the director may not offer him or her too many choices and or even too much information, because a limited actor can get more easily confused.

A complete NO on Vipin’s list is an unfortunate habit some directors have. That of showing an actor EXACTLY how they want him or her to perform! (laughs) Maybe those directors are seeking claps for themselves on set, he jokes. But, to not judge them, if the director feels his or her actor will do a better job if he is shown how to do a particular scene, or action, Vipin suggests … “Then the director should do so in privacy, and not on the film set in front of the crew and other actors; it’s demoralising.”

Signifying the importance of a director, Vipin elaborates that an actor cannot watch himself or herself while performing. That is why the director’s feedback, an honest one, becomes so crucial for an actor. And the level of conviction with which a director gives feedback to his actor can boost the actor’s confidence or destroy it.

Vipin rarely watches his own performance on the video assist monitor. He rather trust the directors when they say the shot is great, or not. And the trust should be mutual. It cannot be a one way street. (smiles)

Not judging the directors he has worked with so far, but when pushed to name a few he feels were able to help him perform better, helped him own the character he was performing, Vipin names Aamir Khan, Anurag Kashyap, Tigmanshu Dhulia, and Sudhir Mishra. “Good directors let you be after they have expressed to you all that they need you to know about your character. Then they allow you the space, the liberty and the choice to explore. Becoming your travel companion on the journey of your character’s arc.”

The arc:

When Vipin is offered a script, he is looking to see the arc of the character offered to him. An interesting journey, arc, of his character makes the character interesting to perform.

Ever evolving:

Scripts get altered as they are shot and edited. Sometimes the character’s arc can change for the worse. At times the arc cam get better as its production progresses. Vipin says “Since an actor cannot predict how it will turn out to be, you just need to keep the faith while at it.” (smiles)

Filmmography:

http://www.imdb.com/name/nm1479650/

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#ActorsDiaries with #VipinSharma

#RakeshAnandBakshi

https://www.linkedin.com/in/rakesh-anand-bakshi-0453b437?trk=nav_responsive_tab_profile

#DirectorsDiaries https://www.facebook.com/DirectorsDiaries and https://www.facebook.com/DirectorsDiaries

The directors’ on Cinema & Filmmaking: https://www.youtube.com/watch?v=R8bnPI95HCs

The directors’ Beginnings: https://www.youtube.com/watch?v=lgbvst-mhOw

The directors’ Convictions: (What convinced the directors to come on board our book, their reasons behind our book) https://www.youtube.com/watch?v=uQgoJwP1sd8

The directors’ Challenges: https://youtu.be/1BmjGGurM5U

Imtiaz Ali’s 1st film being his film school & our book: https://www.youtube.com/watch?v=fzC18coaoLw

Zoya Akhtar on being a 1st time film maker: https://www.youtube.com/watch?v=dsdg8UNfwKs

Shyam Benegal on ‘… Why directors’..’ : https://youtu.be/3-u3GRgkt8E