Latest news with #Anurag
Time of India
3 days ago
- Entertainment
- Time of India
Vivek Agnihotri reveals John Abraham and Bipasha Basu's breakup made Dhan Dhana Dhan Goal shoot challenging: '... there were a lot of problems that happened'
Vivek Agnihotri revealed the troubled making of 'Dhan Dhana Dhan Goal,' citing creative clashes with Anurag Kashyap and UTV's team. He highlighted John Abraham's casting due to Kashyap's influence and the challenges of filming football scenes. Agnihotri also criticized the industry's star-driven system and actors' influence on decisions, questioning high fees for limited performance. Filmmaker Vivek Agnihotri has opened up about the behind-the-scenes drama of his 2007 sports drama Dhan Dhana Dhan Goal, revealing how a mix of personal conflicts, creative clashes, and casting challenges made the film's journey turbulent. From tensions with Anurag Kashyap to John Abraham and Bipasha Basu 's breakup during the shoot, Vivek didn't hold back as he revisited the hurdles that plagued the project—while also taking pointed digs at the Bollywood system and its over-reliance on star power. When asked by Dainik Bhaskar about what went wrong with Dhan Dhana Dhan Goal, Vivek pointed to a lack of clarity around creative roles. He claimed that UTV, the film's producers, didn't fully recognize him as the writer, and that their team seemed more taken with Anurag Kashyap, despite it not being Anurag's project from the start. Vivek also suggested that Anurag was dealing with personal issues at the time and mentioned that writing had been underway in India for over a year before the film was shot in London. The filmmaker explained that John Abraham joined Dhan Dhana Dhan Goal primarily because of Anurag Kashyap, and throughout the project, John only discussed the script with Anurag, not with him. He also said that even UTV executives preferred communicating with Anurag. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Giao dịch CFD với công nghệ và tốc độ tốt hơn IC Markets Đăng ký Undo However, Vivek claimed that the writing team failed to deliver, prompting him to bring in someone else to rewrite and properly format the script, which he felt lacked structure. Despite the issues, he emphasized that he still holds respect for both Anurag and Vikramaditya Motwane as writers. He also took a dig at Anurag Kashyap, claiming that one of his biggest issues is that he talks excessively and often says things he doesn't remember later, especially when under the influence. He alleged that Anurag has apologized to him multiple times in the past and suggested that while both of them speak their truths, Anurag tends to retract his words later with an apology. Vivek reflected on Dhan Dhana Dhan Goal, noting that although the film was well-received in 2007 and had popular music, it was plagued with challenges. He revealed that John Abraham and Bipasha Basu's breakup during the shoot made things especially tough for him. Without directly naming John, Vivek criticized the film industry's stardom-driven system, implying frustration with actors influencing key decisions despite what he called their limited competence—ranging from marketing to poster placements. The director further shared that John Abraham was cast in Dhan Dhana Dhan Goal largely because of his image as a football enthusiast, which everyone thought made him a natural fit for the role. While Vivek had no objection to John's casting, he noted that during the shoot, actors like Arshad Warsi and Raj Zutshi had visibly improved their football skills thanks to extensive training—something he felt John lacked. As a result, many of John's football scenes had to be filmed by separately capturing his face and feet to make the action look convincing. He also criticized actors who ask for their dialogues to be shortened, questioning why they accept high fees if they can't deliver basic performance requirements like speaking a few lines fluently. He argued that producers should reconsider paying crores to actors who fail to bring real value to a project. Vivek Agnihotri is currently promoting his next film The Bengal Files.
Indian Express
3 days ago
- Entertainment
- Indian Express
‘John Abraham couldn't say five lines of dialogue,' Vivek Agnihotri on Dhan Dhana Dhan Goal shoot: ‘Everything depends on incompetent, mediocre, actor's intelligence'
Filmmakers Vivek Agnihotri and Anurag Kashyap are on the opposite ends of the political spectrum but there was a time when they worked together in the 2007 film Dhan Dhana Dhan Goal, albeit it wasn't pleasant. In an earlier interview, when Vivek accused Anurag of being a 'drunkard' and passing off his work to Vikramaditya Motwane, Anurag retaliated by calling Vivek a 'jhootha aadmi (liar).' Now, Vivek was again asked about the same, and this time, he didn't criticise Anurag much but wondered out loud about Anurag's retaliation. He also implied that John Abraham, who starred in that film could not say longer dialogues at once. He also said in Bollywood, the 'entire ecosystem is dependent on an incompetent, very mediocre, actor's intelligence.' Vivek was asked by Dainik Bhaskar what went wrong with Dhan Dhana Dhan Goal and he said that UTV, the producers of the film, did not think of him as a writer and that the executives at their office were 'fascinated' by Anurag even though 'this wasn't Anurag's subject.' 'Anurag's life had personal issues going on at the time. I read somewhere that he wrote, 'He (Vivek) didn't take us to London, how are we the writers? We were shooting in London. The writing was done here for a year and a half,' he said. Vivek said that this wasn't 'possible' as John became a part of the film solely because of Anurag. 'He would only talk to Anurag about the script, not to me. Even the executives at UTV would speak to him. In the end, they could not deliver. Towards the end, I had to get someone to write everything properly because even the dialogues were not written properly. At least, the script should look like a script, should be in the correct format, and not look like a man has scribbled whatever with his pen,' he said and added that he 'really respects' Anurag and Vikramaditya as writers. ALSO READ | Sitaare Zameen Par movie review: Aamir Khan delivers fully committed performance in heart-winning comedy But, he also mentioned that Anurag's biggest problem is that he talks a lot. 'Anurag ka problem yahi hai ki bak-bak boht karta hai, bakwas boht karta hai. Aur kya bolta hai pee ke use pata hi nahi (Anurag's problem is that he talks nonsense. And he also doesn't realise what he says once he is drunk). He has apologised to me at least 3-4 times. If I say something now, he will apologise to me two days later. He tells the truth and I am telling the truth as well,' he said. Vivek said that while Dhan Dhana Dhan Goal was liked back in 2007, and had hit music, 'there were a lot of problems that happened.' He shared that it was during this film's shoot that John Abraham and Bipasha Basu broke up and that became 'very difficult for me to handle.' Vivek then criticised the system of stardom in the film industry without naming John but heavily implied that he was dissatisfied with his work. 'The entire ecosystem is dependent on an incompetent, very mediocre actor's intelligence. How the marketing should be done, who should be on the poster,' he said. 'Everyone was like, 'Let's take John, he is a footballer. That's how he became a part of the film,' he said and added that he had no problem with John's casting but by the time they shot the film, Vivek observed that actors like Arshad Warsi and Raj Zutshi had become very good at football because of the training they had received, but that wasn't the case for John. 'In all of John's scenes, we had to shoot his face and feet separately,' he said. 'If someone tells me 'reduce my dialogues' Why? Because you can't say them at once? You can't say five lines of dialogues in rhythm at once. This is your problem. Then why are you taking so much money?' he asked and said that producers should wonder why they are paying crores to an actor who is not bring value for the money being spent on him. Vivek Agnihotri is currently promoting his next film The Bengal Files.
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First Post
4 days ago
- Business
- First Post
The new middle class trap: Unsecured loans and social pressure fuel debt in India, Hong Kong and elsewhere
Once seen as engines of economic growth, the middle classes across countries including India and Hong Kong are now struggling to stay afloat as mounting personal debt, stagnant incomes and unchecked lending practices push them to the brink read more India and Hong Kong are very different in culture, government and location. But now they share a worrying problem: their middle classes are stuck in growing consumer debt. The middle class, which once stood for stability and progress, is now under mental stress, facing financial risks and rising inequality. In both places, people's incomes are not growing much, but the cost of living is going up. Because of this, many middle-class families are becoming financially weak. A big reason is the rise in unsecured loans, credit used for shopping and daily spending and the pressure to live a fancy lifestyle shown on digital platforms. STORY CONTINUES BELOW THIS AD But the middle-class people of these two countries are not outliers. They fit in the bigger global pattern that affects their counterparts in the US or Turkey alike. Indian middle class: From prudence to precarity In the 1990s, Indian middle-class life was defined by modesty and measured ambition. Families back then could buy land and build homes on single incomes, without the burden of high-interest debt or extravagant spending. However, this picture has changed over the years, and look drastically opposite to the middle-class sight of the 1990s. Salaries, in terms of rupees earned, have jumped. However, when adjusted to inflation and the rupee-dollar conversion, the difference may not look dramatic. But in recent times, the growth rate has slowed. For mid-level earners, with those making between Rs 5 lakh and Rs 1 crore annually, it has witnessed 0.4 per cent compound annual growth rate over the last decade. The cost of essentials — from food to education — has surged, and more significantly, social media-driven consumerism now pressures even conservative households into unsustainable spending habits. Today, desperation has overtaken discipline. Financial experts have over the years pointed out that the culture of saving has given way to survival through borrowing — credit card EMIs, buy-now-pay-later schemes and digital wallets. The data paints a grim picture: credit card non-performing assets (NPAs) surged to Rs 6,742 crore in 2024, up from Rs 1,108 crore in 2020 — a nearly 510 per cent jump in just five years. In parallel, unsecured personal loans ballooned. Retail lending grew over 30 per cent in 2023 alone with banks and fintech firms eagerly offering credit at the click of a button. These loans are often used not for asset creation, but to maintain appearances—smartphones, cars and vacations that mask financial distress. Psychological toll and societal implications Beyond the numbers lies a deeper human tragedy. Anurag, a former travel agent, represents a growing cohort of Indians who are financially and emotionally exhausted. He accrued $13,000 in debt after losing his job and experienced such psychological strain that he began contemplating suicide, a Financial Times report said. His case is not isolated. As per Marcellus Investment Managers, around 10 per cent of middle-income Indians are ensnared in a debt trap, while national household savings are at their lowest point in 50 years. The economic optimism heralded by policymakers often hides this widespread urban distress, where easy credit replaces real income growth. STORY CONTINUES BELOW THIS AD The Indian government has acknowledged the issue, albeit reactively. In 2024, Finance Minister Nirmala Sitharaman introduced tax breaks to provide fiscal relief to the middle class, implicitly admitting to their deteriorating financial state. The Reserve Bank of India also raised the risk weight on unsecured personal loans to 125 per cent, tightening the spigot of easy credit. Hong Kong: From property dreams to debt nightmares Thousands of miles away, Hong Kong's middle class is facing its own debt reckoning, though under a different economic regime. Once seen as a hub of capitalist success and real estate wealth, the city has become a cautionary tale of financial overreach. A South China Morning Post report cited the case of Fai Chan, who inherited a modest 377 sq ft flat, but was forced into borrowing at 40 per cent interest just to secure legal ownership. Chan's monthly repayments, often exceeding his income, forced him into further borrowing from even riskier lenders. Despite never defaulting, his life was consumed by anxiety, with debt collectors flooding him with offers thinly veiled as threats. Hong Kong's Money Lenders Ordinance caps interest rates at 48 per cent annually, but loopholes and lax enforcement have enabled the growth of quasi-legal and outright illegal lending. A tiered system — ranging from first-tier regulated finance firms to shadowy second-tier entities — has filled the vacuum left by traditional banks, which have tightened lending amid economic uncertainty. Even within this 'regulated' space, abuses are rampant. Hidden handling fees, personal data leaks and intimidation tactics are widespread. Debt collection complaints surged to over 2,300 criminal cases in 2024, including home vandalism and harassment of employers and families. STORY CONTINUES BELOW THIS AD A shared fate: Squeezed by aspirations, caught by credit Despite their vastly different financial ecosystems, the Indian and Hong Kong middle classes share fundamental vulnerabilities. Both are increasingly reliant on unsecured credit to maintain lifestyles that are, in many cases, artificially inflated by social pressure and economic stagnation. In India, smartphone penetration, online gaming and astrology-fuelled speculation platforms are outlets for economic frustration. In Hong Kong, it's the promise of property ownership and financial independence that lures the middle class into the debt trap. In both cases, lenders are eager to capitalise. India's microfinance industry, for instance, grew by 37 per cent in FY2023 before plummeting due to rising defaults and regulatory scrutiny. Similarly, Hong Kong's moneylending ecosystem exploded from 779 entities in 2009 to over 2,400 by 2021, a South China Morning Post report said. Structural drivers and systemic risks The deeper issue lies in how both societies have structured their growth narratives. In India, government rhetoric around a 'new India' driven by consumption perhaps overlooks the skewed income distribution and jobless growth that leave the middle class behind. Similarly, Hong Kong's growth model, underpinned by real estate speculation and export dependency, is faltering under the weight of global shocks and domestic inequality. India's household debt as a share of GDP rose from 35 per cent in March 2020 to 43 per cent in June 2023 — an unsustainable trajectory given the stagnant income base. Meanwhile, 40,741 Hong Kong homeowners now owe more than the market value of their homes, the highest negative equity figure since 2003. STORY CONTINUES BELOW THIS AD Social cost: Families, mental health and harassment The price of debt is not just financial. It is also deeply social and psychological. In both nations, debt collectors have resorted to public shaming, employer intimidation and even physical threats. Indian collectors call bosses and neighbours, while Hong Kong collectors splash paint and tamper with door locks. Family members become collateral damage. In Hong Kong, a woman named Leung and her relatives were harassed due to a loan application that used them as referees without consent. Such experiences sow distrust, social isolation, and in severe cases, lead to suicidal ideation. But this is not an India-Hong Kong phenomenon The US is battling with its own household debt crisis. It has reached $1.14 trillion, with a significant portion attributed to credit cards, a Federal Reserve report says. Delinquency rates on credit card balances have risen, with 8.9 per cent of balances falling into delinquency over the past year. The Fed report showed that aggregate delinquency rates increased in the first quarter of 2025. In Turkey, a country already grappling with economic upheaval, credit card debt is a crisis the leadership and courts are battling with. Its central bank last year said credit card indebtedness reached unprecedented levels in 2023 (the last year for which data is available to public), soaring to 2.5 times the amount seen in 2022. Credit card debts in Turkey soared in the first 10 months of 2023 to $34.7 billion. The number of individuals under legal follow-up for unpaid credit and credit card debts rose by 39 per cent in the January-November period of 2024, reaching 1.66 million. A new middle class trap In theory, the middle class should be a buffer of stability and a driver of economic growth. But, it has become a pressure cooker of consumerist expectations and financial vulnerability. Easy credit, cultural pressures and poor regulation have created a scenario where millions are just one missed payment away from collapse. As household debt rises and structural economic issues remain unaddressed, countries with high middle-class deb risk turning their growth dreams into widespread distress. Without significant policy intervention, cultural shifts and income restructuring, this segment — often the promise of a brighter future — may become the symbol of a collective socioeconomic failure. STORY CONTINUES BELOW THIS AD
Indian Express
5 days ago
- Entertainment
- Indian Express
‘I don't drink like Anurag Kashyap, I'm wiser than Anubhav Sinha': Vivek Agnihotri strikes down comparisons
Director Vivek Agnihotri has made a name for himself with his highly polarising and controversial brand of filmmaking. The first two movies of his 'Files' trilogy, The Tashkent Files and The Kashmir Files, divided audiences and were branded by some of them as propaganda. In a recent interview, Vivek shut down comparisons with his contemporaries, like Anurag Kashyap and Anubhav Sinha, while making another comment about Kashyap's supposed 'drinking-problem.' While making an appearance on Shubhankar Mishra's podcast, Vivek defended his choice of films, and cited reasons behind why he felt compelled to make them. When the host told him that many people consider him to be the 'right-wing Anurag Kashyap', Vivek was swift to strike down the comparison. He said, 'I don't drink like him, though.' He added, 'People who like Anurag and watch his films only focus on the fault lines of this country. I focus on the greatness of this nation.' He said that he wasn't playing into any propaganda, and the decision behind making the trilogy was his own. ALSO READ: 'Is Deepika Padukone dumb?': Vivek Agnihotri says she was misled by her PR, 'had no idea' what she was getting into He said, 'This was my choice, the trilogy, and I decided to make these movies back in 2010. There have been several documentaries made on the Gujarat riots. People have already talked about it, and there is nothing new to bring to the screen.' He also distanced himself from another fellow director, Anubhav Sinha. The host told Vivek that when Anubhav made an appearance on the podcast, he told him that he would not be willing to work with Kangana Ranaut because of their ideological differences. Anubhav said, 'Agar aadmi hi na pasand ho, toh kaam kaise kare (If you don't like the person, you can't work with them).' To this, Vivek said that there are a lot of people who he works with who don't necessarily align with his ideals or beliefs, but they are professional enough to put their differences aside, and so is he. He stated, 'That is Anubhav's own thinking; I am too wise for that. I can draw that line between the people I am working with. I don't have any personal conversations with the people that I am working with, and many of the people in my movies don't believe in the same ideologies that I do. So many people in the Bengal Files are themselves Bengali, but I work with national award-winning actors who are professional enough to get the job done.' The final instalment of the trilogy, The Bengal Files, is all set to release on September 5. The cast of the film includes Darshan Kumaar, Mithun Chakraborty, Anupam Kher, Pallavi Joshi, Dibyendu Bhattacharya and Saswata Chatterjee. This time the theme for the film is around the 'right to life'. The Tashkent Files was centred around the 'right to truth', while the Kashmir Files explored the 'right to justice'. This isn't the first time that Vivek has taken a dig at Anurag's supposed drinking problem. He told Digital Commentary recently, 'Anurag was a heavy drinker back then, and he couldn't be trusted. He brought Vikram Motwane on board, who is a very talented guy. He told me, 'Mera naya ladka hai woh kaam karega'.' Anurag responded on Instagram, calling him a 'liar'. They worked together on the film Dhan Dhana Dhan Goal.
Time of India
12-06-2025
- Entertainment
- Time of India
When Fatima Sana Shaikh burst into tears for 'Metro... In Dino' immediately after relishing chips
Actress Fatima Sana Shaikh, who is awaiting the release of her upcoming film 'Metro... In Dino', has shared an interesting anecdote from the shooting of the film. The actress spoke with IANS ahead of the film's release, and shared how she had to switch on the character in a split second. One moment, she was busy eating chips during the break, and the other moment, when the director called for a shot, she quickly gulped it, and was all set to deliver the scene. Metro…In Dino - Official Trailer Speaking with IANS, Fatima said, "I had this in between that we were doing a scene and I have to, you know, walk and cry. If you have seen the trailer, there's a scene with Pritam da and Papon. So all that was happening. And the camera is somewhere far away. But, there was a zoom lens, so they can also capture you very clearly". She further mentioned, "And, I was just having chips while the rest of the people got ready. I didn't know. And it took a little time to tell them that they're ready. I had to burst into tears. I was eating chips. So Dada said, 'Rolling'. And I was like, 'f***'. And I quickly gulped and I started crying. But this is not found in any other set, that you can perform on call. That is only possible with him". The actress has reunited with Anurag for the second time for the upcoming film, 'Metro... In Dino' having collaborated with him earlier in 'Ludo'. Earlier, she cleared some misconceptions about the director, and said that he knows exactly what he wants. Fatima earlier told IANS, "I love working with him. Actually, there is a misunderstanding. He's a very organised person. When you're on set, your entire day goes by in 5-6 hours. You never shoot overtime. He's so fast. He can easily shoot 4-5 big scenes in a day, which is very tough for people, especially in big films where the cast is also big". The actress further mentioned that Anurag is highly productive, and knows what he wants, as she said, "It takes a long time, but he's highly productive. He knows his shots. He doesn't waste time figuring out. He knows what he wants". Presented by Gulshan Kumar & T-Series presents, in association with Anurag Basu Productions Pvt. Ltd., 'Metro In Dino' is produced by Bhushan Kumar , Krishan Kumar , Anurag Basu, and Taani Basu. The film is set to arrive in cinemas on July 4, 2025. Presented by Gulshan Kumar & T-Series presents, in association with Anurag Basu Productions Pvt. Ltd., 'Metro In Dino' is produced by Bhushan Kumar, Krishan Kumar, Anurag Basu, and Taani Basu. The film is set to arrive in cinemas on July 4, 2025.
