Activists of the Shree Rajput Karni Sena on Friday gathered outside the Central Board of Film Certification (CBFC) office here on Friday to protest against the coming release of Sanjay Leela Bhansali's PADMAAVAT.

A few were taken away by the police.

Members of the Rajput outfit, under the leadership of Sukhdev Singh Gogameri, gathered outside the CBFC office to express dissent over the censor board's decision to allow the release of the controversial movie.

Jeevan Singh Solanki, a Karni Sena member, told IANS: "We will not let the film release in the country under any circumstances. Some states have already agreed with us and therefore banned it. We want the film to be banned in the whole country.

"We will not stop here. We are going to urge our Prime Minister to ban the film because the movie will ruin the heritage and culture of Rajput community. The filmmaker has played with the sentiments of the Rajputs," Solanki added.

Asked if they were ready to watch the film pre-release to clear their doubts, Solanki said: "The whole projection of our community is wrong. We do not want to see the film. It should be banned."

Virendra Singh, the spokesperson of Karni Sena, on Friday told IANS that members from the outfit and even other Rajput associations assembled here to protest.

The film, cleared by the CBFC after five modifications and renamed from PADMAVATI to PADMAVAT and now titled PADMAAVAT, is scheduled to release on January 25 across India. The film will, however, not be released in Rajasthan.

CBFC gave it the green signal with a U/A certification in consultation with a three-member advisory panel.

The Rajput outfit had first expressed concern after Ranveer Singh, one of the three lead actors of the movie made a casual statement back in July 2016.

He was reportedly asked if he was playing the role of a villain in the film, and he had said that he could go two notches beyond playing the role of a villain if he was given two intimate scenes with the film's leading lady Deepika Padukone.

This led to the question whether the movie showcases any intimacy between Khilji and Rani Padmavati. Subsequently, Karni Sena activists assaulted Bhansali on the film's set in Jaipur and another set in Kolhapur was vandalised.

They even threatened Deepika and Bhansali.

Director Mohit Suri along with EMI Records India on Friday announced the launch of VYRL Originals to promote independent singers, music producers, lyricists and composers.

The property will see the release of one song every month which will launch simultaneously across music streaming services worldwide and on radio.

It aims to bridge the gap between film and non-film music.

Suri will be curating and mentoring every aspect of each track that is being produced. Right from the composers, lyricists to the singers, each of them will be carefully worked on and handpicked by the director himself.

"I hear songs from so many talented musicians that don't always get a chance to be featured in Original Soundtracks. With VYRL Originals, we aim to provide a platform for independent music artistes to showcase their music and add to the whole independent music scene here," Suri said in a statement.

"The songs will get the same treatment and level of production any film song would get and that's what gives it even more potential to grow," he added.

The first track launched under VYRL Originals is 'Teri Yaad', composed by Ajay Vas and sung by Yash Narvekar, who is best known for singing 'Mere Dil Mein' from Suri's film HALF GIRLFRIEND.

'Teri Yaad' is a contemporary love ballad which carries the baggage of emotional pain.

The track has been produced by Bollywood music producer Abhijit Vaghani, who has produced music for films like BAJRANGI BHAIJAAN and AIRLIFT.

Vaghani said: "In a landscape where Bollywood is considered the ultimate platform, it takes a huge amount of effort to promote independent artistes."

"I've been a music producer in Bollywood for over two decades now, my long association with Mohit Suri led them to me. I believe in promoting all kinds of talent when it comes to music, they need to be heard the process needs to start."

With this project, he knows he will be able to "help put this process in place and in turn I will be able to showcase my own expertise on an independent platform away from Bollywood"

Director Mohit Suri along with EMI Records India on Friday announced the launch of VYRL Originals to promote independent singers, music producers, lyricists and composers.

The property will see the release of one song every month which will launch simultaneously across music streaming services worldwide and on radio.

It aims to bridge the gap between film and non-film music.

Suri will be curating and mentoring every aspect of each track that is being produced. Right from the composers, lyricists to the singers, each of them will be carefully worked on and handpicked by the director himself.

"I hear songs from so many talented musicians that don't always get a chance to be featured in Original Soundtracks. With VYRL Originals, we aim to provide a platform for independent music artistes to showcase their music and add to the whole independent music scene here," Suri said in a statement.

"The songs will get the same treatment and level of production any film song would get and that's what gives it even more potential to grow," he added.

The first track launched under VYRL Originals is 'Teri Yaad', composed by Ajay Vas and sung by Yash Narvekar, who is best known for singing 'Mere Dil Mein' from Suri's film HALF GIRLFRIEND.

'Teri Yaad' is a contemporary love ballad which carries the baggage of emotional pain.

The track has been produced by Bollywood music producer Abhijit Vaghani, who has produced music for films like BAJRANGI BHAIJAAN and AIRLIFT.

Vaghani said: "In a landscape where Bollywood is considered the ultimate platform, it takes a huge amount of effort to promote independent artistes."

"I've been a music producer in Bollywood for over two decades now, my long association with Mohit Suri led them to me. I believe in promoting all kinds of talent when it comes to music, they need to be heard the process needs to start."

With this project, he knows he will be able to "help put this process in place and in turn I will be able to showcase my own expertise on an independent platform away from Bollywood"

Indian-American filmmaker Mira Nair believes obsession for cinema and a fire in the belly to succeed are far more important than luck to become successful in filmmaking.

"I do not think about luck much. I think it is about the fire in the belly, I think the kind of obsession for cinema that keeps you going, is more important. Of course there is some amount of luck involved in filmmaking to be able to transform your idea in a film and get it out to the audience in exactly the way you want it, but I don't sit waiting for lady luck," Nair said during a session at the Apeejay Kolkata Literary Festival here on Thursday evening.

Nair, who has enthralled the audience all over the globe with films like SALAAM BOMBAY!, MISSISSIPPI MASALA and THE RELUCTANT FUNDAMENTALIST, said tenacity and a calm acceptance of rejection are also prime requisites in filmmaking.

"It is more of an idea that something is so strong within you that you just have to make it. Filmmaking is also about the tenacity to never say die. Also if you want to be a filmmaker, I think you have to learn to accept rejections because you are going to get rejected at every level all the time even if you have good connections," she said.

Reliving her days of making the 1996 movie KAMA SUTRA: A TALE OF LOVE, which was banned in India because of its erotic content, the filmmaker said "it was a modern film about an ancient time" and explained how she wished to explore different facets of love that is not twisted or coquettish, through the film.

Nair is more interested in real-life stories on issues that ask questions as opposed to a good Sunday evening rom-com because there are a lot of others who can make such films better.

"I like to make films about things that get under my skin and don't let me go and at the same time something that doesn't feel like home work or a lecture. I have a great love for nonsense and mischief and I like to combine that in films because life is like that," she said.

Nair, who worked in theatre and also started her filmmaking career with documentaries, said her background enables her to mix legendary actors with complete non-actors, which has been a trademark of many of her films.

"My own training as an actor and my love for the actors helped me to bring actors of different temperaments and also from different countries together. Having worked as an actor as well as a documentary filmmaker, gives me a way to understand what a certain person can give you as an actor," she added.

Indian-American filmmaker Mira Nair believes obsession for cinema and a fire in the belly to succeed are far more important than luck to become successful in filmmaking.

"I do not think about luck much. I think it is about the fire in the belly, I think the kind of obsession for cinema that keeps you going, is more important. Of course there is some amount of luck involved in filmmaking to be able to transform your idea in a film and get it out to the audience in exactly the way you want it, but I don't sit waiting for lady luck," Nair said during a session at the Apeejay Kolkata Literary Festival here on Thursday evening.

Nair, who has enthralled the audience all over the globe with films like SALAAM BOMBAY!, MISSISSIPPI MASALA and THE RELUCTANT FUNDAMENTALIST, said tenacity and a calm acceptance of rejection are also prime requisites in filmmaking.

"It is more of an idea that something is so strong within you that you just have to make it. Filmmaking is also about the tenacity to never say die. Also if you want to be a filmmaker, I think you have to learn to accept rejections because you are going to get rejected at every level all the time even if you have good connections," she said.

Reliving her days of making the 1996 movie KAMA SUTRA: A TALE OF LOVE, which was banned in India because of its erotic content, the filmmaker said "it was a modern film about an ancient time" and explained how she wished to explore different facets of love that is not twisted or coquettish, through the film.

Nair is more interested in real-life stories on issues that ask questions as opposed to a good Sunday evening rom-com because there are a lot of others who can make such films better.

"I like to make films about things that get under my skin and don't let me go and at the same time something that doesn't feel like home work or a lecture. I have a great love for nonsense and mischief and I like to combine that in films because life is like that," she said.

Nair, who worked in theatre and also started her filmmaking career with documentaries, said her background enables her to mix legendary actors with complete non-actors, which has been a trademark of many of her films.

"My own training as an actor and my love for the actors helped me to bring actors of different temperaments and also from different countries together. Having worked as an actor as well as a documentary filmmaker, gives me a way to understand what a certain person can give you as an actor," she added.

Filmmaker John R. Leonetti feels the clamour around sexual harassment in showbiz is a turning point in Hollywood, and a reflection of how men have looked at women for ages. The ANNABELLE director says it is a signal that it's a time for change.

At the moment, there are debates around women's safety in showbiz as some well-known men in power have been accused of using their position to harass people.

From Harvey Weinstein, Ben Affleck, Brett Ratner, Charlie Sheen, Dustin Hoffman, James Toback to Kevin Spacey and James Franco, several men from Hollywood have been been accused of sexual assault and harassment.

Asked about his views on the controversy, Leonetti told IANS in an email interview from Los Angeles: "This is a turning point in awareness about how men have looked at women and where lines are finally being drawn… It's about time."

Leonetti, who has explored the supernatural genre through his creative vision, said horror films backed with a bigger message is the trend to look forward.

"Really smart writing like GET OUT (is the trend that will make it big in the genre in the time to come). It is horror with smarts and a message in irony."

GET OUT is a horror film centred on an inter-racial relationship between a black American man and his white partner. The movie was a satire on racism and it was critically lauded.

It is the shrills and thrills that keep Leonetti hooked to the horror genre. He is known for working with director James Wan as a cinematographer. Leonetti also served as director of photography on INSIDIOUS and INSIDIOUS: CHAPTER 2.

He first sat on the director's chair in 1997 for MORTAL KOMBAT: ANNIHILATION, and has directed films like ANNABELLE, WOLVES AT THE DOOR and forthcoming film WISH UPON. Carnival Motion Pictures has brought WISH UPON in India on Friday.

Talking about his influences, he said: "Alfred Hitchcock and John Frankenheimer inspire me, they both were masters in suspense and keeping the audience on the edge of their seats. Steven Spielberg inspires me with 'ET'.

"There is a script about the inception of Rock n Roll in Philidelphia in 1956. It is a drama with lots of music and performance… I would love to make that movie."

"I like horror that teases the audience to pull back the curtain to ‘the other side' because none of has been there but we are all so curious about what happens after we die," he said.

But he rued "although ‘jump scares' are still expected, suspense and thrills are just as if not more important" now.

At present, he hopes WISH UPON pushes the entertainment buttons in India as it is a film through which he has tried to make a "fantasy teen thriller that could resonate with teens and have a message that everyone could relate to".

WISH UPON narrates the story of a teenaged girl who finds a magic box that grants wishes, but kills someone close to her each time. The film stars Joey King, who also played a pivotal role in THE CONJURING, Ki Hong Lee, Sydney Park, Elisabeth Rohm and Ryan Phillippe.

After WISH UPON, Leonetti has gone in THE SILENCE mode.

"I am in post now on THE SILENCE, based on a book by Tim Lebbon. It is a sci-fi suspense thriller that is set in an apocalyptic world. It is scheduled to come out in June."

[By Sugandha Rawal]

Filmmaker John R. Leonetti feels the clamour around sexual harassment in showbiz is a turning point in Hollywood, and a reflection of how men have looked at women for ages. The ANNABELLE director says it is a signal that it's a time for change.

At the moment, there are debates around women's safety in showbiz as some well-known men in power have been accused of using their position to harass people.

From Harvey Weinstein, Ben Affleck, Brett Ratner, Charlie Sheen, Dustin Hoffman, James Toback to Kevin Spacey and James Franco, several men from Hollywood have been been accused of sexual assault and harassment.

Asked about his views on the controversy, Leonetti told IANS in an email interview from Los Angeles: "This is a turning point in awareness about how men have looked at women and where lines are finally being drawn… It's about time."

Leonetti, who has explored the supernatural genre through his creative vision, said horror films backed with a bigger message is the trend to look forward.

"Really smart writing like GET OUT (is the trend that will make it big in the genre in the time to come). It is horror with smarts and a message in irony."

GET OUT is a horror film centred on an inter-racial relationship between a black American man and his white partner. The movie was a satire on racism and it was critically lauded.

It is the shrills and thrills that keep Leonetti hooked to the horror genre. He is known for working with director James Wan as a cinematographer. Leonetti also served as director of photography on INSIDIOUS and INSIDIOUS: CHAPTER 2.

He first sat on the director's chair in 1997 for MORTAL KOMBAT: ANNIHILATION, and has directed films like ANNABELLE, WOLVES AT THE DOOR and forthcoming film WISH UPON. Carnival Motion Pictures has brought WISH UPON in India on Friday.

Talking about his influences, he said: "Alfred Hitchcock and John Frankenheimer inspire me, they both were masters in suspense and keeping the audience on the edge of their seats. Steven Spielberg inspires me with 'ET'.

"There is a script about the inception of Rock n Roll in Philidelphia in 1956. It is a drama with lots of music and performance… I would love to make that movie."

"I like horror that teases the audience to pull back the curtain to ‘the other side' because none of has been there but we are all so curious about what happens after we die," he said.

But he rued "although ‘jump scares' are still expected, suspense and thrills are just as if not more important" now.

At present, he hopes WISH UPON pushes the entertainment buttons in India as it is a film through which he has tried to make a "fantasy teen thriller that could resonate with teens and have a message that everyone could relate to".

WISH UPON narrates the story of a teenaged girl who finds a magic box that grants wishes, but kills someone close to her each time. The film stars Joey King, who also played a pivotal role in THE CONJURING, Ki Hong Lee, Sydney Park, Elisabeth Rohm and Ryan Phillippe.

After WISH UPON, Leonetti has gone in THE SILENCE mode.

"I am in post now on THE SILENCE, based on a book by Tim Lebbon. It is a sci-fi suspense thriller that is set in an apocalyptic world. It is scheduled to come out in June."

[By Sugandha Rawal]

BETTER CALL SAUL star Bob Odenkirk is on board to produce and star in the action thriller NOBODY.

Derek Kolstad, who wrote JOHN WICK, will be writing the screenplay of the film. Its story is about an ordinary man who comes to the defence of a woman being harassed by thugs, and then learns later that one of the thugs is the brother of a drug kingpin and is out for vengeance, reports hollywoodreporter.com.

Odenkirk is best known for portraying lawyer Saul Goodman in crime drama series "BREAKING BAD" and its spin-off BETTER CALL SAUL.

He currently stars in Steven Spielberg's THE POST, in which he portrays journalist Ben Bagdikian. The film is presented in India by Reliance Entertainment.

BETTER CALL SAUL star Bob Odenkirk is on board to produce and star in the action thriller NOBODY.

Derek Kolstad, who wrote JOHN WICK, will be writing the screenplay of the film. Its story is about an ordinary man who comes to the defence of a woman being harassed by thugs, and then learns later that one of the thugs is the brother of a drug kingpin and is out for vengeance, reports hollywoodreporter.com.

Odenkirk is best known for portraying lawyer Saul Goodman in crime drama series "BREAKING BAD" and its spin-off BETTER CALL SAUL.

He currently stars in Steven Spielberg's THE POST, in which he portrays journalist Ben Bagdikian. The film is presented in India by Reliance Entertainment.

Filmmaker Vikram Bhatt, ready with his new film 1921, yet another supernatural-horror thriller, says his obsession with the spooky comes from how fear is the most palpable of all emotions.

Excerpts from an interview:

Vikram, you are back doing a genre you are most comfortable with?
I don't know ‘comfortable' is the right expression. I have always had a feel for the romanticized horror. All my horror films have been love stories. The horror is the villain of the films usually. I have always believed that fear is the most basic of human emotions. There is no other emotion that we can feel that is so palpable as fear. They say that fear is the basic emotion to a lot of other emotions. Fear of hunger is greed, fear of dark is light, fear of losing is insecurity… so on and on. If fear is done well, then nothing attracts us more. A horror film is like an adventure where you live to tell the tale.

How have you re-invented the genre this time?
You can't really re-invent a genre. A genre is a genre is a genre. One can tell a story that has not been heard before within the genre. And that is what I have done. Also I have listened to my audiences carefully in my previous films and corrected the genre where they thought I had gone wrong. '1921' is not the usual horrex, it has a soulful love story and great music. It is a movie that transcends the scares and talks about love and sacrifice. It is also high on horror as the audiences have told me that they want more of it.

You have also been very active on the web with a number of products. Is that the future or the present?
Yes, I have been actively doing work on digital for the past year and on January 27, which is my birthday, my app, VB on the Web comes out, which is like a theatre on the phone. You have to just buy a ticket for the show you want to watch. No subscription or other stuff, just good old movie style. I don't know if the content on the cell phone is the future but I do know that content being beamed to you directly is the future. Entertainers should be where the crowd is. Today the crowd is on the phones.

What do you think of the films being made in Hindi these days? Is the audience more open to novel themes or is it still status quo?
We have always been a business of doing more of the same. If it is comedy, then it is going to be tons of the same. Now it is the time for bio-picture, so everyone is on that road. We are going to learn about a lot of people, some we know and some we did not know. The audience has always been open to novel ideas.

It is us, the filmmakers who are scared to put our money where it matters. The audience is done with marketing gimmicks. It is not going to bring the people into the theatres. We will have to tell good stories. That is all.

As the director who reinvented the supernatural genre with RAAZ, what do you feel about the way the genre has evolved?
About the evolution of the genre… I really don't know what that means. If we want our films to be more like the Hollywood horror films, I don't think they are and they should be. We have a different art form. We tell stories with an emotional arc. We are not the country of unrelenting horror with little human relationships. Those kind of films just won't work. Yes we need to source different stories and make the stories we tell more believable. We have to work on that.

Must ask about the freedom of expression vis-a-vis PADMAAVAT. Do you think filmmakers in this country are under siege? And what's the solution?
This is another discussion altogether. One that needs pages and pages to fill.

[By Subhash K Jha]