B-town celebs always end up spilling beans on various interesting topics in Chat Shows. And the viewers have the last laugh at some really juicy revelations these stars make on such shows. Bffs with Vogue is not any different.

When replying to one of the many tricky questions put forth by the sassy host Neha Dhupia; Sonakshi spoke about how her Bollywood work life has been so far.

Interestingly she even stated that according to her ACTION JACKSON was her worst film and that she was chased to do ITTEFAQ.

Elaborating on the same she said “Juno Chopra and I always end up doing the film together. Honestly I have repeatedly worked with all my producers and directors because once they have worked with me they don’t want to work with anyone else. Just Kidding! Juno wanted me to do his first film as well but that didn’t work out so he came to me with ITEFAAQ and thankfully that worked well for all of us and now he is coming back to me with something else that he has in mind.”

Well we wonder what director Prabhu Deva and her co-star of ACTION JACKSON Ajay Devgn has to say about it now.

B-town celebs always end up spilling beans on various interesting topics in Chat Shows. And the viewers have the last laugh at some really juicy revelations these stars make on such shows. Bffs with Vogue is not any different.

When replying to one of the many tricky questions put forth by the sassy host Neha Dhupia; Sonakshi spoke about how her Bollywood work life has been so far.

Interestingly she even stated that according to her ACTION JACKSON was her worst film and that she was chased to do ITTEFAQ.

Elaborating on the same she said “Juno Chopra and I always end up doing the film together. Honestly I have repeatedly worked with all my producers and directors because once they have worked with me they don’t want to work with anyone else. Just Kidding! Juno wanted me to do his first film as well but that didn’t work out so he came to me with ITEFAAQ and thankfully that worked well for all of us and now he is coming back to me with something else that he has in mind.”

Well we wonder what director Prabhu Deva and her co-star of ACTION JACKSON Ajay Devgn has to say about it now.

Writer-director Gauri Shinde, wife of PAD MAN director R. Balki, says she is proud that the movie on menstrual hygiene has been handled by men.

At a screening of the movie here, Gauri said: "The film is fantastic and I loved it. I am very proud of my husband and the whole team. I think it's hats off to the women who are in it, who are appreciating it and who inspired us to make this film."

Like husband Balki, Gauri herself is also an ad film director and made her Bollywood debut with the highly acclaimed film ENGLISH VINGLISH.

Asked about the inputs she gave to Balki as a filmmaker and as a woman while making a movie on menstrual hygiene, she said: "I love to take credit for whatever he (Balki) does, but that's not the truth this time, unfortunately.

"I am immensely proud that it is men who are sort of handling this — be it Balki, Akshay Kumar and Vivek (Vivek Krishnani, managing director, Sony Pictures Entertainment India). It's amazing to see that men have come together to do this.

"So, sometimes it's nice to take a backseat and watch men when they do something for women. We should probably not judge them and I think they have it in them to do it so. I think we should let the men come out and do this".

Based on the life of Arunachalam Muruganantham, PAD MAN is the story of how one man came up with a revolutionary method of producing cost-effective sanitary napkins and empowered thousands of women across the country in the process.

Akshay has stepped into the shoes of Muruganantham in the film, which also features Sonam Kapoor and Radhika Apte.

Writer-director Gauri Shinde, wife of PAD MAN director R. Balki, says she is proud that the movie on menstrual hygiene has been handled by men.

At a screening of the movie here, Gauri said: "The film is fantastic and I loved it. I am very proud of my husband and the whole team. I think it's hats off to the women who are in it, who are appreciating it and who inspired us to make this film."

Like husband Balki, Gauri herself is also an ad film director and made her Bollywood debut with the highly acclaimed film ENGLISH VINGLISH.

Asked about the inputs she gave to Balki as a filmmaker and as a woman while making a movie on menstrual hygiene, she said: "I love to take credit for whatever he (Balki) does, but that's not the truth this time, unfortunately.

"I am immensely proud that it is men who are sort of handling this — be it Balki, Akshay Kumar and Vivek (Vivek Krishnani, managing director, Sony Pictures Entertainment India). It's amazing to see that men have come together to do this.

"So, sometimes it's nice to take a backseat and watch men when they do something for women. We should probably not judge them and I think they have it in them to do it so. I think we should let the men come out and do this".

Based on the life of Arunachalam Muruganantham, PAD MAN is the story of how one man came up with a revolutionary method of producing cost-effective sanitary napkins and empowered thousands of women across the country in the process.

Akshay has stepped into the shoes of Muruganantham in the film, which also features Sonam Kapoor and Radhika Apte.

"Tu Aashiquii" star Ritvik Arora says he is grateful to former "Bigg Boss" contestant Priyank Sharma for teaching him how to dance.

"With music being at the heart of our show ('Tu Aashiquii'), dance has been an integral part of many sequences. I honed my dancing skills at Shiamak Davar's institute and, back then, Priyank Sharma was one of the dance instructors there. I am grateful to Priyank because his dance lessons have helped me nail my moves on the show," Ritvik said in a statement.

Meanwhile, Priyank will be seen portraying the role of a young filmmaker (Shaurya) in the show "MTV Love On The Run".

"The concept of the upcoming episode is relevant in today's day and age wherein youngsters are constantly in a fix of choosing between their love and career," Priyank said in a statement.

"Personally, I am a strong believer in the power of love so I am completely against the view that love can have any kind of adverse effect on your career. In fact, strong support from your loved ones gives you the strength to achieve anything and everything in life," he added.

"Tu Aashiquii" star Ritvik Arora says he is grateful to former "Bigg Boss" contestant Priyank Sharma for teaching him how to dance.

"With music being at the heart of our show ('Tu Aashiquii'), dance has been an integral part of many sequences. I honed my dancing skills at Shiamak Davar's institute and, back then, Priyank Sharma was one of the dance instructors there. I am grateful to Priyank because his dance lessons have helped me nail my moves on the show," Ritvik said in a statement.

Meanwhile, Priyank will be seen portraying the role of a young filmmaker (Shaurya) in the show "MTV Love On The Run".

"The concept of the upcoming episode is relevant in today's day and age wherein youngsters are constantly in a fix of choosing between their love and career," Priyank said in a statement.

"Personally, I am a strong believer in the power of love so I am completely against the view that love can have any kind of adverse effect on your career. In fact, strong support from your loved ones gives you the strength to achieve anything and everything in life," he added.

QARIB QARIB SINGLLE director Tanuja Chandra says she has never faced issues in showbiz on the basis of her gender.

Asked if it's difficult for female directors to function in the industry, Chandra told IANS: "It's not so much the gender as the type of subject a director chooses to make, which poses a problem most often.

"I've never really faced issues because I'm a woman. It's the unusual subjects I've chosen for my films that have had resistance. So if you want to make anything that doesn't fit into a certain box or label or genre, you will find the road difficult."

Chandra, who has directed films like DUSHMAN, SANGHARSH and SUR- THE MELODY OF LIFE, feels that there aren't enough female directors in the country.

"The number has grown since when I started out, but only by a small amount. When there will be many, many more women directing movies, I truly believe storytelling will get better," she added.

Chandra's directorial starring acclaimed actor Irrfan Khan comes after nine years. She helmed HOPE AND A LITTLE SUGAR in 2008.

Why such a long gap?

"For a director, the journey is far longer than for an actor or even a writer and producer. One has to work on scripts and then pitch them to potential producers and actors all this takes longer than people realise. It only catches peoples' attention at release time!

"So I was, in fact, working on screenplays throughout the time you call a 'gap' and a couple of projects had reached the shooting stage but then were stopped for various reasons. 'QQS' fortunately, was not one of those! It reached the production stage and was successfully released."

QARIB QARIB SINGLLE , which will premiere on February 17 on &pictures, also stars southern star Parvathy.

Chandra says it was exciting to work with the actress.

"She is disciplined and hard-working, which is basically the South ethic on set. She was able to match my manic energy! She also has a fairly good command on the language because she has studied in Hindi medium schools. She is very smart and is fun to work with," she added.

For Deepika Padukone's resplendent lehengas, Shahid Kapoor's elegant achkans and jamas, and Ranveer Singh's get-up which reflected Turkish origins in PADMAAVAT, designer-duo Rimple and Harpreet Narula undertook challenging and extensive research, which they say has left an indelible mark on their own signature aesthetics.

Set in the 13th century, the period drama directed by Sanjay Leela Bhansali is the story of the legendary Rajput queen Padmavati, her husband and Rajput king Maharawal Ratan Singh, and Delhi Sultan Alauddin Khilji. The detailing in the costumes has been much appreciated.

"Working on a project of this stature can prove to be quite challenging since the garments play a significant role in bringing to life the personas of these historical figures, the cultural influences as well as maintaining the authenticity of the period," Rimple told IANS.

Harpreet said: "Over a period of time, these characters became our muses and the entire process left an indelible mark on our own signature aesthetic."

The designers have vouched for the perfectionist that Bhansali is known to be.

"He had a vision and it was fascinating to see how the characters he envisioned translated to real people with whom we interacted on the sets. Moreover, our perception of drama in clothes has also undergone a change while working on the project how at times 'less is more' or 'more is less', given the moment in the story line; or how various elements need to be layered for a cohesive look that is in sync with the director's vision," said Rimple.

PADMAAVAT marked the first time the designers have worked with Bhansali, known for lending rare grandeur to his movies.

"Sanjay sir has a very beautiful way of orchestrating the extremely detailed and spectacular canvases he has envisioned on screen. Thankfully, we were always on the same page as him and never really had a clash. His in-depth knowledge and research on the period formed the guidelines which we followed while creating each look," Harpreet said.

For this, they had to isolate key elements that might have been prevalent in the era and eliminate all modern/Mughal/European influences from the garments and enter a "pure-zone".

They relied on old manuscripts and travellers' accounts and the writings of court historians and Sufi saints such as the 16th century historian Abd-al-Qadir Bada'uni for reference when it came to the ornate styling and layering of the looks.

"Remarkably, we discovered that the costumes of Awadh were very different from the ones that were popular in Delhi, and we tried to integrate these small distinctions in our design," said Harpreet.

To get the look right for Deepika as Rani Padmavati, the designers' team got special prints developed from Sanganer and Bagru for the textiles that were used.

For Shahid's character, Harpreet said Bhansali had instructed them to avoid following "any vague generalisations of costumes that have been depicted in cinema till now".

He said Bhansali's aim was to have such garments for Shahid that not only carried forward the narrative but also expressed the emotional turmoil and complexities the character undergoes.

What about Khilji?

"Given Khilji's nomadic Turkish origins, we did a lot of research on the costumes and textiles of the belt, right from Afghanistan to Kazakhstan to the central Asia belt around Turkey. Our own travels also came in handy as we have, over the years, collected samples of various old textiles such as Suzanis and Tapestries from flea markets and auctions, which were great reference points for getting the styling and the look and feel just right," said Rimple.

The ensembles are now archived with the film's production house, but Rimple and Harpreet hope they are some day able to showcase the bespoke creations.

"We would love to get a platform to showcase them for people to see them, see the research that went into creating them and the work of so many artisans and craft clusters that helped us achieve the looks," said Rimple.

Expressing gratitude to the people who worked behind the scenes, Harpreet said: "The block printers, gotta weavers and embroiderers are the ones who made it possible for us to bring to life Bhansali's vision; (the film provided them) a platform that was able to showcase their craft, bring them into focus and help revive these age-old techniques that are losing out to mass production and machine-made fabrics and embroideries."

For Deepika Padukone's resplendent lehengas, Shahid Kapoor's elegant achkans and jamas, and Ranveer Singh's get-up which reflected Turkish origins in PADMAAVAT, designer-duo Rimple and Harpreet Narula undertook challenging and extensive research, which they say has left an indelible mark on their own signature aesthetics.

Set in the 13th century, the period drama directed by Sanjay Leela Bhansali is the story of the legendary Rajput queen Padmavati, her husband and Rajput king Maharawal Ratan Singh, and Delhi Sultan Alauddin Khilji. The detailing in the costumes has been much appreciated.

"Working on a project of this stature can prove to be quite challenging since the garments play a significant role in bringing to life the personas of these historical figures, the cultural influences as well as maintaining the authenticity of the period," Rimple told IANS.

Harpreet said: "Over a period of time, these characters became our muses and the entire process left an indelible mark on our own signature aesthetic."

The designers have vouched for the perfectionist that Bhansali is known to be.

"He had a vision and it was fascinating to see how the characters he envisioned translated to real people with whom we interacted on the sets. Moreover, our perception of drama in clothes has also undergone a change while working on the project how at times 'less is more' or 'more is less', given the moment in the story line; or how various elements need to be layered for a cohesive look that is in sync with the director's vision," said Rimple.

PADMAAVAT marked the first time the designers have worked with Bhansali, known for lending rare grandeur to his movies.

"Sanjay sir has a very beautiful way of orchestrating the extremely detailed and spectacular canvases he has envisioned on screen. Thankfully, we were always on the same page as him and never really had a clash. His in-depth knowledge and research on the period formed the guidelines which we followed while creating each look," Harpreet said.

For this, they had to isolate key elements that might have been prevalent in the era and eliminate all modern/Mughal/European influences from the garments and enter a "pure-zone".

They relied on old manuscripts and travellers' accounts and the writings of court historians and Sufi saints such as the 16th century historian Abd-al-Qadir Bada'uni for reference when it came to the ornate styling and layering of the looks.

"Remarkably, we discovered that the costumes of Awadh were very different from the ones that were popular in Delhi, and we tried to integrate these small distinctions in our design," said Harpreet.

To get the look right for Deepika as Rani Padmavati, the designers' team got special prints developed from Sanganer and Bagru for the textiles that were used.

For Shahid's character, Harpreet said Bhansali had instructed them to avoid following "any vague generalisations of costumes that have been depicted in cinema till now".

He said Bhansali's aim was to have such garments for Shahid that not only carried forward the narrative but also expressed the emotional turmoil and complexities the character undergoes.

What about Khilji?

"Given Khilji's nomadic Turkish origins, we did a lot of research on the costumes and textiles of the belt, right from Afghanistan to Kazakhstan to the central Asia belt around Turkey. Our own travels also came in handy as we have, over the years, collected samples of various old textiles such as Suzanis and Tapestries from flea markets and auctions, which were great reference points for getting the styling and the look and feel just right," said Rimple.

The ensembles are now archived with the film's production house, but Rimple and Harpreet hope they are some day able to showcase the bespoke creations.

"We would love to get a platform to showcase them for people to see them, see the research that went into creating them and the work of so many artisans and craft clusters that helped us achieve the looks," said Rimple.

Expressing gratitude to the people who worked behind the scenes, Harpreet said: "The block printers, gotta weavers and embroiderers are the ones who made it possible for us to bring to life Bhansali's vision; (the film provided them) a platform that was able to showcase their craft, bring them into focus and help revive these age-old techniques that are losing out to mass production and machine-made fabrics and embroideries."