As Heeramandi, Sanjay Leela Bhansali’s most ambitious costume drama about a brothel full of beautiful feisty tawaifs during the Partition of India prepares to go on the floors, Sanjay Leela Bhansali hones in what makes his world of swirling joy and cascading colours so special.
Are you already in the directorial mode again?
Gangubai Kathiawadi was my most exhausting film to date. It left me completely sapped. I needed time to get back into work mode. But there was no time. Heeramandi, which I am committed to doing, is all set to start shooting. Luckily, I am not directing all the episodes.
Knowing you it is immaterial whether you are directing or not. Your involvement would be complete and unconditional.
True, that. Actually, every episode of Heeramandi is like an independent feature film. We are not cutting corners or taking shortcuts.
Your fans are pining to know your Heeramandi cast.
All in good time. It is a vast cast and we are still casting. We want justice to be done to every character big or small. The casting is filled with surprises.
Being a film about song and dance your music will play a vital part in Heeramandi.
Of course, music will be of utmost importance. But we are not making a Pakeezah or an Umrao Jaan here. There are songs, quite a few of them, but the focus will be on the drama.
You are the first major filmmaker since Satyajit Ray to compose music for your own cinema.
Music is inbuilt into my DNA. I grew up listening to and hero-worshipping Lataji. Now when I compose music I look for traces of her singing in every singer I introduce in my song.
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