Tag-Archive for » Anurag Kashyap «

#SHORTS- Talk of the Twitter Town!

Don’t believe us? Take a look at the collage of most of the Tweets about S.H.O.R.T.S here!

Note : Including only one tweet from each handle to keep up with the exclusivity!

Connect with us on twitter @tumbhi or follow #SHORTS for more tweets pouring in!


Why You Should Not Miss S.H.O.R.T.S – 5 Reasons

SHORTS is an anthology – a collection of 5 short films, by different directors under the umbrella of the grand storyteller Anurag Kashyap!

We give you 5 honest reasons as to why to give your time, money, energy and effort to this flick!


Filmmaking – is that already inside you- as a passion, as an art and as a religion? Then you get something here! It’s about direction, script, enactment and above everything else, living that character and that story so much yourself that you exactly know what you want out of your actors when you get to shoot that film.

Watch SHORTS as a reference, as to how you can improve on your own art and make it better, look at it as an example and don’t leave even a single chance to not try ‘anything’ new in your next short film. Observe every minute move and every single thought behind that move.


If you are too much into ‘Hollywood’ now just because Bollywood still keeps going on the same league of a small town romance or may be a bold –scene-but-no-storyline types films, you should watch SHORTS. If you are looking for something ‘out of the league’ in terms of story , direction, characters and concept as a whole – SHORTS is the answer for you!

And it’s not just story we are talking about here, but the entire “art” of telling that story and telling it in a way that it gives goose bumps when you sit in that darkened theatre and watch SHORTS.

Watch it for a surprising storytelling art, fresh brains in direction and cinematography, interesting camera angles and some real diverse characters.


May be you don’t need to read further under this heading but okay , lets put it this way – You are an ardent Anurag Kashyap fan and a zealous worshipper of his art of filmmaking. We will only add- Rest Assured!

A true Anurag Kashyap praises him not only as a person but also praises his art and his style of filmmaking. SHORTS is made by talented directors -who worship Anurag themselves (just like you!) and are mentored by him. So rest you can imagine yourselves!

Watch SHORTS for an Anurag Kashyap style of movie.

#4 YOU WANT TO SEE THE BABY PICTURE ALBUMS OF Huma Qureshi, Richa Chadda, Nawazuddin Siddiqui

When celebrities aren’t famous , they start with smaller roles , in ads or may be short films. Through these smaller roles and appearances, they grow themselves, become famous and one day become celebrities. SHORTS shares kind of similar story.

Many of todays’ famous celebrities like Huma Qureshi, Richa Chadda, Nawazuddin Siddiqui, Vineet Singh are part of SHORTS. You have seen these famous faces in other movies like Gangs of Wasseypur, Kahani and so on, now see them in SHORTS and enjoy it as a kind of the baby picture album of these actor’s career lives.

Watch SHORTS to watch the earlier, realistic and absolutely fantastic screen versions of Huma, Richa, Nawazuddin, Vineet and others.


Yes, dreams come true – in real lives too.

SHORTS is not a collection of different short films. There is a bigger story behind it. Tumbhi had organized a scriptwriting contest in May 2011 and the winning scripts were promised to be converted into a short films. 3 of SHORTS films are works by Tumbhi Artists- their scripts, their filmmaking art.

Watch SHORTS to eye witness how miracles actually happen in real life, what it like is to see your dream come true and that all this doesn’t just happen in Bollywood films! It’s real!!

*SHORTS is releasing in PVR cinemas across India on 12th July!

Making Short Films: 10 Practical Tips

Do you want to be noticed as filmmaker? Do you want people to appreciate your filmmaking talent? Do you have a great story to tell but working with tight budgets so can’t make a full feature film? Short film is your way! Well known director Anurag Kashyap shared this sentiment with Tumbhi in an exclusive interview. He started his career as filmmaker with a short film and proved his mettle in the industry.

So here we are, with 10 practical tips on making impactful short films.

#1: Spend Considerable Time and Energy on Story

The most important aspect of your short film is the story. Spend as much time as you can on making your story really powerful. Typically, short films are made with shoestring budgets. So the only thing you can really bank on is the story and narration. Your story should not be very complex. Be simple but be very concise. The biggest mistake you can do is copy a famous story/ film. The short film has to be original, it has to be authentic and believable. Make people interact with the characters of your film and make them part of your world.

#2: Mind your Time

The short film by definition means a film which is short. Your film should be max 20 minutes – 10 minutes or less is ideal. That shows your talent of conveying an idea in less time and precisely. A lengthy film often looses the grip of the audience. Many successful short films are in fact have a run time of less than 5 minutes. Work on this very carefully.

#3: Research and choose locations carefully

Most of the times, valuable time is spent in moving between the locations. You can do your research and choose locations in such a way that that you spend less time in moving between locations. Consider various camera angles to make your location look realistic and relevant to your story. Go and shoot at real locations to get the authentic feel.

#4: Avoid Typicality, Be Different:

Being inspired is fine, but being unique is even better :- ) Avoid typicality in your shots. Think of being unique and different when you shot the film. But at the same time, don’t go overboard with lot of experimentation. Get opinions from others and from experts in case you are trying to do something new. You will have their perspective, which will help you fine tune your efforts and deliver the best.

#5: Don’t Hesitate to Seek Professional Help

Just because you are making a short film and not a full length feature film does not mean that you do not need professional help. In case you feel the need, go and seek professional help. Be it camera, lighting, make up or anything. There is no harm in getting people who are smarter than you to do the best job J That will leave you free to do what you are best at and not worry about other things.

#6: Carefully choose the cast – Get them for rehearsals if possible

Your actors are going to tell your story – at the end of the day they are the ones who are going to be at the front. So make sure that they have all your assistance. Provide them all the required details, get them involved in your story, provide them all the resources which they need. Then only they will be able to give their best. If possible, invite them for rehearsals. You will have an opportunity to know the artist and get the best out of him.

#7: Pay special attention to sound

Many filmmakers get so engrossed in concentrating on the visuals that they completely miss out on sound, which is the second most important aspect of the film after story. It might not be wrong if I say that you should spend almost 50% of your time in ensuring that the sound is clear. People might forget bad shots and slippages at certain places in direction, but they will be unforgiving to a bad sound. Carefully select the background music. Make sure you use music files legally by obtaining required licenses for the music.

#8: Editing

Film editing is yet another important aspect. For this, you don’t really need a high-end computer or software. A decent computer with good disk space, good video card and sharp monitor is enough. You also get lot of free video editing software like Movie Maker or iMovie which you can effectively use. Do go through free video tutorials which will help you with practical tips and tricks to creatively fix a bad shot. Some shots might appear great independently but may not make the required impact when seen in connection with other shots. In such cases, you will need to innovatively strategize solutions. Be critical about the film, constantly check if the storyline is coming out to be clear, are the scenes effective and is the overall structure coming out to be consistent. Once you are satisfied with the editing, you are ready to release the film.

#9: Titles and Credits

Don’t go overboard with long list of titles and credits. No doubt, you will have lot of support from various people in the making of your short film, but at the same time, don’t diminish the impact by having a non-precise list . Make a short and concise list giving due credits to major contributors. Take some professional help in deciding the size and color of the font so that it is readable and at the same time, does not interfere with other elements on the screen.

#10: Carefully plan promotion : how to get your film seen

Most of the filmmakers lack in effective promotion of their film and fail to publicize it. Making a great film is not the end but it is just the beginning. Once the film is ready, you need to check out various ways to make it known to the public. This certainly does not mean that you start showing it at every possible opportunity. Check out the avenues which will give your film the required exposure and get you in front of people to make your talent known. Submitting your films to various national and international film festivals is a good way to promote it. You can also participate in online contests where you can get it reviewed by expert judges. Upload your film on websites which give you opportunity to showcase it to well known filmmakers as well as short film lovers. Tumbhi’s new exclusive website for short film, http://shortfilms.tumbhi.com offers you one such platform where you can create an online portfolio of your film, be in front of stalwarts from the industry like Anurag Kashyap and also get exposure to hundreds and thousands of short film lovers.

So get going. Go crazy. Follow your dreams. Go with your passion. Trust your instincts. You will definitely emerge as winner!

Know What Tumbhi Can Give You!

“Open your eyes and look within. Are you satisfied with the life you’re living?” Bob Marley

When Bob said this, it was clearly not for an average man who comes to work, does his routine and sleeps off to complete the cycle. It was more about the man who despite of his routine , takes out time for himself, the one who discovers himself as an artist, nurtures his talent and grows without any full stops in view.

Tumbhi, as per definition, means an online platform that seeks to transform the lives of artists, art lovers and art seekers. You are an artist if you have created some artworks in the credit of your name, out of pure imagination of your own.

If you walk in Tumbhi world as an artist, there are a lot of things that are offered to you! Some of the pointers are as under:

  • You are an instant ‘Star’: All of us know fame doesn’t walk in the window so easily but there is always a beginning to everything. Tumbhi artists who get recognized either by getting shortlisted in some of the Tumbhi’s Contests or winning those are interviewed. These interviews are opened up for reading on our blog as well as other social media platforms. Through this, the world gets to know both the personal side of the artist along with the Artistic part.
  • Featuring on Facebook: Facebook is a big deal these days. The entire world around us is there on Facebook as well and making up to something on Facebook is not a meager issue. Tumbhi has a proactive Facebook page with a huge fan base of more than 90,000 fans. Any artist who captures the attention of the Tumbhi team with his outstanding work of art (be it a photograph, poetry, story or even modeling portfolio) gets featured right there in front of thousands on Tumbhi’s Facebook page. Same goes with Tumbhi’s Twitter and blogging platform as well.
  • Expert Comments: This is something which you don’t easily get everywhere! An artist always craves for the right eye for his/her artwork and if that eye is of an expert of that field, there is nothing better than that. Tumbhi has on its board an eminent panel of advisors, who are handpicked by their respective industry itself for the kind of work they have to show to the world. These include people like Anurag Kashyap (Film Director), Irshad Kamil (Lyricist), Javed Siddiqui (Screen Writer), Sunjoy Monga (Photographer) and so on. An artist coming to Tumbhi gets an opportunity to expose his talent to such maestros and receive expert comments from them.

So the first step to discover yourself as an artist will always be your initiative but Tumbhi can take definitely take up from the following steps.

Give yourself a chance to get Explored by the world! Login to www.tumbhi.com.

Dreams That Came True!

“All our dreams can come true, if we have the courage to pursue them. “- Walt Disney

Every one of us a dreamer, the difference is only that some of us remember them when we wake up and some of us let go the flow of thoughts. The dreams may vary as per night or day but the core ambitions travel along with every vision that comes to the dreamer’s mind.

An artist also dreams. He dreams to transform all his dreams into reality one day. And what if someday, somebody actually holds his hands and guides him through? A bunch of dreamers experienced something like this! They got a chance to cherish their dream: being a filmmaker, a scriptwriter, an actor.

Tumbhi came up with a scriptwriting contest back in May 2011 called “Paanch”. The prize was only a promise to transform the words into reality i.e. the winning entries would be converted to actual short films under the mentorship of none other than Anurag Kashyap.

Six Short films were made by Tumbhi. Shor and Sujata were part of those six films. Come November’2011, the film Shor goes to Abu Dhabi Film Festival (U.A.E) 2011-12, gets discovered by the right eyes for filmmaking, receives rave reviews from many critics and wins the Best Narrative Short: Grand Jury Prize.

But Shor was made only to shout out loud what it actually was! It grabs another Best Narrative Short: Grand Jury Prize at South Asian International Film Festival (SAIFF). Neeraj Ghayawan, Scriptwriter and director of Shor , could actually see now his dreams flying high right there in the clouds above. Making much more ‘Shor’ than its name, Shor won another Grand Jury Prize at 10th Indian Film Festival of Los Angeles.

But Shor was not alone here for the accolades. Huma Qureshi, the lead actress of the other short film “Sujata” gets a special mention by the grand jury at IFFLA. Sujata, a dream-child of the scriptwriter Annie Zaidi and director Shlok Sharma, becomes just another route of bliss for its conceivers.

To Tumbhi.com, it was all about giving feathers to the dreams of artists! Looking forward to even more feathers getting added to their caps, Tumbhi takes pride in translating at least a few dreams to reality because as Dr. Abdul Kalam said, “you have to dream before your dreams can come true.”

Shor: My First Short Film with Tumbhi and Anurag Kashyap

By Neeraj Ghaywan


I read this research snippet about a woman doing a research on the influence of hormones on relationships. A part of the research involved the woman standing on an empty street asking out men for a date. She asked over 20 men. Her success rate was 40%. She did the same thing on a dangling bridge on a rough weather day. Her success rate jumped to about 85%. Though the static may not be exact but the hypothesis that she arrived at was that people are vulnerable to fall in love in dangerous situations. I had forgotten the article but it stuck in my subconscious and eventually led to an idea about the human condition at the face of death. When we embrace death, our most vulnerable time, we find our truest side. We confront what really matters to us. That became the basis for Shor. Yes, I wasn’t too happy with the title myself but when you see the film you’ll realize we couldn’t have come up with another name.

Shor is about Lallan and Meena, a couple from Banaras (North India), consumed by their pursuit to survive in the seedy ghettos of Mumbai city. Lallan has lost his job at the factory and ambles about hopelessly searching for a way out. Meena has taken up tailoring to make ends meet, losing touch with her emotions, and almost turning into a machine herself. One day they truly find each other while embracing death, divorce and redemption, all just over a phone call.

I had the basic structure of the script ready but I didn’t want to compromise with the culture and milieu of the characters. For me it is very essential to have the premise to adhere to a agreed upon set of culture and ethos. I used to take autorickshaw rides and speak to the drivers at length, recording the conversation on my phone and later make notes from it. I must have spoken to some 40 odd rickshaw drivers to arrive at 4 of them who were from Banaras. I conducted a focus group with these people, inviting them to my house. Yes yes, I have an academic and corporate background and old habits die hard. Anyway, I spoke to them for a long time about their lives, their homes, how they dealt with their wives, I made them call their wives and understand how they spoke to them in crisis etc. Finally, I wrote the script along with dialogue. I was very scared and excited. It was ready and I had to show it to Anurag ( I was assisting him on Wasseypur). It’s like you are going for an appraisal interview to your boss. He read the first page and rejected it. He didn’t read further and I was heartbroken. I felt terrible, this was not just a short film script, but my first work to my boss and he had rejected it. Some people rubbed it in. I almost felt like abandoning the whole idea of becoming a filmmaker. It was humiliating. I thought I should still do this.

I called my rickshawala brotherhood. I decided to go to their homes. Some of them were kind enough to oblige. I spent time at their place; observing their lifestyle, the objects in their houses, the kids, the neighborhood, what they did in their free time, what pained them, what made them happy etc. It helped in understanding their lifestyle and most importantly what language they spoke. Now that I had enough material, I started rewriting the dialogues. When you start writing dialogues, you realize how difficult is writing a screenplay as against a book or a short story. The research helped me in identifying the insecurities that they lived with and how they expressed themselves. I wrote a draft and ran it past Vineet Singh (the lead actor of Shor) and Varun Grover ( a writer friend). They made some tone and grammar corrections with the dialogue I wrote. By the way, Vineet Singh has the fine charm of the angry young man and I have lost the count of how many languages he knows. Finally Anurag read the script. He said it has great potential if I had established the two characters in the same space. He had couple of ideas. I put everything together but didn’t show the final draft which by the way, was the tenth draft.

I just wanted to go ahead and shoot. The more I deliberated the more I’d distance from the passion to make it. Also, there was this pressure of having assisted for only six months and here I was, attempting to make a difficult short film in complete guerrilla style. The folks at Tumbhi.com loved the script and I was ready to go. But there was one problem; the shooting process could only be started in August along with the competing short films, which was completely understandable. But I couldn’t have shot in the monsoons as the film was mostly in difficult exterior locations. So I borrowed money from friends for the shoot (Thank You Anubhuti Kashyap and Suresh Nayak). We got into pre-production, Rishabh and Puja jumped into help me on the film. Rishabh was great help on the locations and convincing people for the shoot.  Puja is responsible for the look  and the costumes. Poor her, she had to stay away from the action for all the work. They have really worked hard during the film. Super line producer Deep Singh came on board. We did the shot breakdowns, location recces and the research for costume, art and the train routes and stations. Mukesh Chhabra unconditionally helped me to understand what to look for while casting actors. He even did couple of auditions for me.

Umpteen number of rehearsals happened. Ratnabali, the female lead of Shor, was doing English theatre. To be honest, I was panicking because I wanted everyone to get the accent right. I am a stickler for accents. Vineet and I had a lot of sessions on accent modulation with Ratnabali. And when we did the final rehearsal, Ratnabali took me by surprise. I was shocked the way she picked the nuances of the culture. Amardeep Jha, agreed to play the amma. She was perfect in that role and she brought in her own mannerisms to add depth to her role. I remember someone telling me “Oh wow, she’s Sharman’s mom from Three Idiots”.

After an elaborate session we finally arrived at the shot break down. I am of the opinion that it’s almost impossible to replicate the feel of real locations and objects. I abstained from an extensive production design, relying completely on the property available on location ( Malwani and Dharavi).  You can never think of a plastic toy of a swan couple with a broken wing. Like how coincidental is that! One of the auto drivers from the research, Pavan Sharma offered his house to make it as our crew base. His neighbor Irshad Shah offered his house as the main house of the film. Not only that he and his wife also acted in the film. Pavan’s son was the little kid who plays Lallan and Meena’s son. His expressions still haunt me. Milind Shirke, my DoP is fantastic at guerrilla shoots. In public locations he would just hold the camera and either look away or talk over the phone. He used to tell me that if you set the frame, don’t look into the viewfinder for static shots. When you look in to your camera’s view finder, that’s when people look into the camera. He has great sense of framing and very quick at conceptualizing them too. We shot on Canon 7D as the motion capture is better on a 7D as against 5D. For the wide top angle shots, I got the watchman of the only tall building in the ghetto to agree use the building terrace. On the day of the shoot he backed out. In my broken Bhojpuri I made him believe that we are shooting a docu which is about ‘our people’ from Bihar and this film will be a ‘message to the government to listen to us to our woes’. That watchman got all charged up; thankfully he never asked me what I was fighting against. He was all supportive but he still declined. And then I realized he is expecting me to bribe him. I never felt so guilty in my life to have bribed someone, not even when I got caught driving without a license. It was a great idea to go all guerrilla with the shoot.

Without the guerrilla style, the film could have easily become one of the most expensive short films in India. More than the saving, it gave us the freedom of canning the shots exactly the way we wanted. The authorities would have never allowed us to take certain shots if we had shot with permissions. Honestly, if we were caught, we all would have been in jail. To avoid that, we made rules. No three people will be seen together, video assist was avoided. As much as I wanted it, we didn’t take the boom mike. We managed to shoot in sync sound with couple of lapels and a mini sound recorder for ambience. Every location we would find a make-shift base and hide whenever cops or some authorities would come around. I can’t thank Vineet and Ratnabali enough for their courage and conviction. They both risked their lives while shooting for Shor.

Post production took way longer than I had anticipated. I am working on the post-production of Wasseypur and I made Shor in between all the running around for Wasseypur. That was the most difficult part. I had to teleport myself from one studio to another studio, one film to another. Both films were equally close to my heart and it was difficult juggling and two timing. Thankfully, I had a great editor in Nitin Baid. I was handling post and he was assisting the head editor,Shweta Venkat for Wasseypur. They are a lovely team to work with. For few days, when I ran out of money for studios, Shweta loaned her macbook to me and also allowed Nitin to work on Shor while working on Wasseypur. It was great help. Zahir Bandukwala designed the sound and Suhaas Ahuja (You will soon experience their work in That Girl In Yellow Boots). We did a 5.1 surround mix for sound and think it really is achievement by the sound team to pull of sync sound in such difficult locations . Vijesh Rajan, is a bundle of joy to work with. He did the VFX, color correction ( made a DSLR short film look like a film)  and the titles. He also made the poster.
I don’t know which filmmaker said this that the biggest task for a filmmaker is to assemble a great team which is excited about the project. That’s what worked for me the most. All of this was possible through http://www.tumbhi.com. Most of the cast and crew were found on their portal. It’s a great platform to discover talent from all corners of India. I am eternally indebted to Tumbhi.com for not only funding the project but also to give us a platform to make this happen. Above all, thanks Anurag! I owe this to you.

Here is the trailer of the film.

Here are some reactions to the film

Shor is a nuanced portrayal of the despair that comes to underlie a relationship in the mechanized, frenzied urban jungle. The  absorbing, tension-filled narrative moves towards a mellow finale that offers us a glimpse of the inherent redemption and hope in any shattering situation. Backed by affecting performances and fluid story-telling it is an insightful and compassionate film….

– Namrata Joshi, Associate Editor, Outlook

“Shor is a pint-sized dynamo with performances that transcend the limitations of the short’s running time”

– Pratim D. Gupta, Special Correspondent, The Telegraph

Neeraj Ghaywan’s Shor is a beautiful film about a working class woman’s struggle in life, with very moving performances and a gripping ending.  The young filmmaker narrates an entire story in less than 20 minutes, something lot more seasoned filmmakers often cannot do in two hours.

– Aseem Chhabra, Entertainment Writer and Columnist, New York City

Shor is an intimate, gripping portrayal of dissonance in relationships that unsettles with its raw and restless energy. It’s a side of India, or even Mumbai, that we rarely see in our films simply because it roots itself in the heartland of a country grappling with gushing rapid change on one side and the old world value system on the other. Change has liberated the woman and hit right at the core of the male-chauvinistic society. All the world is a machine and we are merely dependent parasites on the verge of becoming one ourselves and losing all that’s human amid all that Shor. Ghaywan shows great sensitivity with his understanding of gender equations and rich promise as a sound filmmaker telling a story about finding clarity in the middle of chaos and love in our increasingly alienated worlds.

– Sudhish Kamath, Senior Assistant Editor, The Hindu/ Independent filmmaker

रिन साबुन की बट्टी है अनुराग की उड़ान

अगर आपकी क़लम का ताल्लुक हिंदी सिनेमा से है और आप दुनिया के सामने दिखने वाले सच के गिरेबां में झांकने की हिम्मत रखते हैं, तो अनुराग कश्यप से आपकी मुठभेड़ गाहे बेगाहे होती रहना तय है। कभी रू ब रू और कभी बाकैमरे। लेकिन, अनुराग के काम की तारीफ करना हिंदी सिनेमा के किसी भी क़लमनवीस के लिए ख़तरे की घंटी भी हो सकती है। कभी भी कोई हिंदी सिनेमा का “भगवान” आपकी लेखनी की स्याही निचोड़ सकता है, क्योंकि अनुराग के बारे में लिखना हिंदी सिनेमा में चल रही एक ऐसी लड़ाई के एक पाले में खड़े होने जैसा है, जिसमें बाहर से आए किसी आम आदमी के लिए जगह मिल पाना नामुमकिन भले ना हो पर मुश्किल ज़रूर है। और, आम आदमी के बारे में बात करना अब बस फैशन रह गया है, जज़्बा नहीं। मेरे ज़िले के मरहूम शायर हसरत मोहानी का एक शैर ऐसे मौके-बेमौके मुझे याद आ ही जाता है और उसे मैं कितनी बार भी इस्तेमाल करूं, बेशर्म की चमक कम नहीं होती – हज़ार ख़ौफ़ हों पर ज़ुबां हो दिल की रफ़ीक़, यही रहा है अजल से कलंदरों का तरीक़।

अपन बात कर रहे थे अनुराग कश्यप की। बीते साल उन्होंने एक ऐसी कहानी को हाथ लगाया जिसे करीब करीब हर प्रोड्यूसर कूड़े में फेंक चुका था। संजय लीला भंसाली के असिस्सटेंट रहे विक्रमादित्य मोटवाने की ये कहानी अनुराग ने पढ़ी तो बहुत पहले थी लेकिन संजय सिंह के साथ मिलकर इसे बनाने का मुहूर्त तभी निकला। उड़ान बनी। चली नहीं चली, इसके आंकड़ों में ना भी जाएं तो सराही बहुत गई। असली हुनरमंद भी कभी पैसे के पीछे नहीं भागता, उसके लिए हौसला बढ़ाने के लिए बजी दो तालियां दोनों जहां की मन्नतें कुबूल होने जैसा होता है। विक्रमादित्य की इस फिल्म ने तमाम देसी विदेशी फिल्म फेस्टिवल्स में तारीफ पाई और मराठों के मैदान में आते आते एक ऐसी गंगा बन गई, जिसमें करोड़ों फूंक कर अपनी मर्जी का तमाशा करने वाले फिल्म अवार्ड्स अपने पाप धोने के लिए बार बार डुबकी लगा रहे हैं। उड़ान इन लोगों के लिए रिन साबुन की ऐसी बट्टी बन गई है जिससे दरअसल इन अवार्ड्स वालों को अपने दामन पर लगे दाग धोने की सहूलियत हो गई है।

अनुराग को उसूलों से समझौता करना न विरासत में मिला और उन्होंने अपने हौसले को समझौतो के आगे घुटने भी नहीं टेकने दिए। उनकी लड़ाई एक ऐसी व्यवस्था से रही है, जहां सितारों को भगवान माना जाता है। शोहरत की बुलंदियां छूने के बाद भी उनका ये जुझारूपन कायम है, अनथक और अविराम। उनके दफ्तर मेरा जाना अब तक दो ही बार हुआ है। मुंबई के उपनगर अंधेरी में आरामनगर का ये इलाका अपने नाम के लिहाज से बिल्कुल उलट है। यहां हर वक्त जिंदगी बेतरतीब सी बिखरी दिखती है। फिल्म निर्माताओं के दफ्तरों के सामने काम पाने की चाहत रखने वाले युवाओं की बेतरतीब कतारें, रास्ते में बेतरतीब से खड़े पेड़ या फिर फिल्म निर्देशक अनुराग कश्यप के दफ्तर तक पहुंचने का बेतरतीब रास्ता। दफ्तर के रिसेप्शन पर एक फ्रेम में लगा फिल्म नो स्मोकिंग का पोस्टर भी इसी का एक्सटेंशन मालूम होता है। पोस्टर पर छपा है – इन सिनेमाज 26 अक्टूबर 2007। इसके नीचे अलग से टाइप करके चिपकाया गया है – आउट ऑफ सिनेमाज 30 अक्टूबर 2010। अपने हर लफ्ज पर दाद की चाह रखने वालों के शहर में अपनी ही फिल्म के पोस्टर पर अपने ही हाथों चिपकाई गई ये चिप्पी अनुराग कश्यप की शख्सीयत का सबसे छोटा लेकिन सबसे सटीक परिचय है।

उड़ान के किरदारों की मनोदशा की चुगली अनुराग के दफ्तर की दीवारें करती हैं। फिल्म रिलीज से पहले हुई बातचीत में अनुराग ने कहा था, अपने यहां टीन एजर्स को लेकर हल्ला तो बहुत है, लेकिन सच पूछें तो उनको जानने की कोशिश हम ईमानदारी से कर नहीं रहे। पहले जो संवाद दो पीढ़ियों के बीच कभी कभार ही होता था, वह अब खूब होता है लेकिन फिर भी कहीं न कहीं कुछ न कुछ दूरी जरूर है। हम टीनएजर्स के लिए फिल्में भी इसीलिए ईमानदारी से नहीं बना पाते। इस आयुवर्ग में सिर्फ कैंडीफ्लॉस रोमांस ही नहीं होता। ये पीढ़ी कांतिशाह के अंगूर भले देखती हो लेकिन वह हम सबसे बहुत आगे है। उसे अपने कल की हमसे ज्यादा चिंता है। जिस उम्र में हम लोग अश्लील साहित्य की तरफ आकर्षित होते थे, उस उम्र तक आते आते तो ये पीढ़ी सब कुछ देख भी चुकी होती है और उससे उकता भी चुकी होती है। आज 40 की उम्र के लोग भले अकेले में इंटरनेट पाने पर पॉर्न साइट्स पर जाना न चूकते हों, लेकिन आज के टीनएजर्स अकेले होते हैं तो भी अमूमन ऐसा नहीं करते। अनुराग की यही पारखी नज़र उन्हें बाकी के निर्देशकों से अलग करती है।

अनुराग की तारीफ में लिखना हिंदी सिनेमा में अपने दुश्मन बढ़ाने जैसा ही है। इसके खामियाजे से मैं दो चार हो भी चुका हूं। लेकिन, फिल्म शूल के वक्त दिल्ली के फिल्म्स डिवीजन ऑडीटोरियम के बाहर फुटपाथ किनारे मिले अनुराग और आज के अनुराग में फर्क ना दिखना ही इसकी भरपाई कर देता है। अपन बेझिझक उनके पाले में खड़े हो सकते हैं, क्योंकि जो तटस्थ हैं, वक्त उनका भी इतिहास किस तरह लिखेगा, फिलहाल तो मालूम नहीं।

(लेखक वरिष्ठ पत्रकार और फिल्ममेकर हैं)

Anurag Kashyap

Anurag Kashyap (born 10 September 1972) is an Indian film director and screenwriter. He was born in Gorakhpur, Uttar Pradesh, where his father worked for the state electricity board. He grew up in several cities, including Varanasi, Saharanpur. He did his early schooling in Dehradun, and age eight onwards, at the Scindia School in Gwalior.

He was fascinated with films right from childhood, and even at age five, would watch Hindi films like Kora Kagaz and Aandhi at a nearby film club and open-air theater. This came to an end once he began his schooling.

As a director, he is known for Black Friday (2004), a controversial and award-winning Hindi film about the 1993 Bombay bombings, followed by No Smoking (2007), Dev D (2009) and Gulaal (2009). As a screenwriter, he wrote the scripts for the Filmfare Award-winning Satya (1998) and the Academy Award-nominated Canadian film Water (2005).

In 1999, Kashyap won the Best Screenplay award for Satya at the Star Screen Awards. The next year, his short film Last Train to Mahakali won the Special Jury Award at the same awards. His feature film debut Black Friday won the Grand Jury Prize at the 3rd Annual Indian Film Festival of Los Angeles (2005), and was a nominee for the Golden Leopard (Best Film) at the 57th Locarno International Film Festival (2004). Recently, he announced his association with Tumbhi where he and his team will make 6 short films for Tumbhi and start his blog with them as well.(2010).

In September 1993, while Kashyap stayed at the St. Xavier’s Boys Hostel, he used to hang out with the members of a band—Greek (later Pralay). He took copious notes on how they lead their lives—forty pages of a small notebook, and began writing the script—”in bits and pieces”—for a film that he called Mirage but which would later become Paanch. Kashyap had seen ex-VJ Luke Kenny in a Vikram Kapadia play, and approached him with an incomplete script, but nothing came out of it. Later on, while working with Nair, he came across files related to the Joshi-Abhyankar Serial Murders that took place in Pune in 1976.


Gulal, DevD & That Girl in Yellow Boots



Black Friday (2004)
No Smoking (2007)
Return of Hanuman (2007)
Dev D (2009)
Gulaal (2009)
That Girl in Yellow Boots (in post-production)


Satya (1998)
Nayak: The Real Hero (2001)
Yuva (2004)
Black Friday (2004)
Water (2005)
Meridian Lines (2007)
Honeymoon Travels Pvt. Ltd. (2007)
Dev D (2009)
Gulaal (2009)


Udaan (2010)


Black Friday (2004) ISI Man
No Smoking (2007) Man on right of John Abraham in lift at the start of song “Jabbhi cigarette jalti hai”
Luck by Chance (2009) Writer (as himself)
Dev.D (2009) The Guy who is leaving from Chanda’s place when Dev enters.
Gulaal (2009) Guest at election win party
I Am (2010)