Vinay Sapru, along with partner Radhika Rao has made three films – LUCKY: NO TIME FOR LOVE, I LOVE NY and their third is the latest release SANAM TERI KASAM. While we couldn't have interactions with Radhika Rao, Vinay Sapru did not let us feel her abscene because their mindsets were so similar, and he gave us instances of the same. Vinay spoke about curse, pop music, choreographing Salman Khan and much more…
Here are some excerpts:
Why is the concept a love story sealed with a curse?
Radhika and I were supposed to direct another film at that time. If you see our work, it's very inspired by Fables and fairytales. Be it LUCKY: NO TIME FOR LOVE or I LOVE NY. Even when you see our songs, the DABANGG song ‘Mast Mast Do Nain' which has heart in Salman's sunglasses was magical. We were actually doing a film inspired by Grim's SNOWHITE, which is actually our next. While we were almost on the verge of take-off, because of some reasons it got shifted for a couple months. Radhika lives in a building in Lokhandwala. She had a very insane incident in the morning and started scripting about it. She said she lives on the 7th floor (topmost) and one day in the morning, she heard a big noise outside where people were banging. She saw the Chairman, secretary locking the door to a passage which goes up the terrace. The reason was because of the young generations doings. So she though that in a city where we don't even know our neighbours, it is so ironical that people who are in love have got so much time to go on the terrace and the others have time to stop them by putting a barricade. The inspiration was like how in Mumbai city, people are busy but have time to control love and lovers. So the conflict point of the film is actually the father's curse.
Were you apprehensive for having two not-very-well-known faces of Bollywood in your movie?
Radhika and I have worked with stars all our careers. Whenever we've done a song too, it's been with Asha Bhosle, Lata Mangeshkar, Pankaj Udaas, Arjun Rampal. Even in films, the first was with Salman, second was Sunny and Kangana. That's why we wanted to work with newcomers. We were in a museum in London. We saw the story and thought that the age has to be correct. When working with stars, they have their way of saying even I love you. Because of their age, they don't blush when saying so. Also, you don't get to experience the vulnerability with stars. The protagonists/lovers keep battling against the curse. So the whole concept actually required a newcomer and when you have someone like Shahid Kapoor in the movie, then there's a whole baggage of him – muscle boy and all that.
How does it feel having Eros backing your movie?
I have something to say about Deepak Mukut – he wrote the story. Radhika and I are a little particular about our processes and guidelines. What suits the role is the importance. So we have a boy and a girl who are nobody's son, daughter, sister, brother, but purely on merit. To get a person to put money on the debutants, Deepak Mukut said do it as per your vision . He not only did that but also mounted the film to an extent that when we met Kishor sir, he was blown away. With Eros coming on board, I feel the film is blessed. Whatever happens to SANAM TERI KASAM is just blessing. Lot of people asked me what happened to I LOVE NY and I used to tell them that a fantastic film is also destiny of a child. SANAM TERI KASAM is a blessed child and Eros coming on board is fantastic. In a Salman Khan, Sunny Deol and Kangana Ranaut film you don't need big studios, but with Eros, theatrical numbers are guaranteed. So the movie is blessed and will take me to a logical conclusion.
Choreography or direction – which is your comfort zone?
Actually, Radhika and I think music. So what happens is when thoughts come in our minds, music plays. So even if you see our musical journey and even our first film LUCKY: NO TIME FOR LOVE, was also musical sorts. This film is musical too. When Radhika and I write a script, we switch on the music and write so that the music give thoughts to our mind. Choreography is about decoding the music.
"Radhika and I think music"
How did you meet Himesh Reshammiya and what is your equation with him?
We thought of the concept, wanted to set this love story in Mumbai city. Even the promos and all is our take on Mumbai city. Every love story's body and soul is music, whether in MAINE PYAAR KIYA, QAYAMAT SE QAYAMAT TAK or even AASHIQUI 2. Once we visualized the concept, that time we were thinking what about music, because the sound needs to belong to us. We were shooting (directing the songs) for PREM RATAN DHAN PAYO at that time. There we met Himesh and we narrated a line from the film to him. He said let's meet up in the studio tomorrow and we said ok. Next day he had recorded the ‘Tera Chehra' song with Arijit. When we heard the song, we realized that he got our vision. We didn't know that Himesh had done TERE NAAM before this, but he could think about tragedy, which the song required. Actually, Himesh is so good that if anybody knows the film more than Radhika and me is Himesh. We finished the songs in 8-9 days, and we weren't even much involved in the last two songs. We told Himesh that the movie is about a love story sealed with a curse and we need a title song on that. Curse in Hindi is baddua and it's a negative word. We asked how will he write a song on it, he took just one day and came up with the line ‘Tera jaana jaise koi baddua, door jaoge jo tum mar jaayenge hum. Sanam Teri Kasam.' He was actually the reason we gave our movie title SANAM TERI KASAM. When I heard it, I said f***, it's outstanding!
You have choreographed Salman Khan in many movies. So what is your equation with him?
Oh he's a mentor. He gave us our first break. Radhika and I were doing our songs. One day we went to meet Sohail in Galaxy apartment. Sohail lived on first floor and Salman on the ground. Salman knew us from before, but while we were going, we met him and he asked why we had gone to his place. We said we had come to meet Sohail for some work. We had the script of LUCKY: NO TIME FOR LOVE with us and Salman spoke to us and said he's doing our film because he knew our work. Everytime we're in a fix and when his call comes, he's like a guardian angel. And that's what he does to everyone who is associated with him.
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