I was in New York when news broke that Bombay was under attack. For someone who’s been born and raised in this magnificent city, this is easily one of the most shattering things to hear - and see. And that’s all I could do. Glued to my television in a hotel room far too far away from where this massacre was taking place, I absorbed everything I saw and everything I heard. Everyone had a sound byte. Everyone had to come out and express his or her opinion; The NSG should be applauded. The Media should be praised. Certain politicians should be bashed. I agree with most of what’s already been said. Some have been eloquent and some have sounded like loud, misinformed banshees. Collectively we’re grappling with the ineffectiveness of the system and what was presented to us as information. Politicians, soulless and emotionless, were addressing the country while reading off of Teleprompters. Can you not feeling anything? Can you say nothing to make us feel just a little more secure in your hands? Poorly conducted “press conferences” announcing the death and casualty toll for foreigners with the speaker unable to successfully read a list from a sheet of paper, confusing Austria for Australia and generally making us look like illiterate idiots to a global audience. It left me embarrassed and struggling to find pride in our government.

I can’t offer a unique perspective on this yet because my grievances at this moment are primarily observations on humanity. The most common thing I hear from people is, “I want to do something, but what can I do?” The answer to this question has resulted in candlelight vigils and sms’s to wear black clothes or light a candle in our windows to show support and solidarity. It’s all very well and good because it is therapeutic. Our natural instincts veer us towards acting out – or at least towards being more active. In times like these, it becomes a challenge to look at the big picture. Terror attacks, massive loss of life – the reality eventually forces you to look at how we react individually and as a collective community. But I had to ask myself, when was the last time we lit a candle for a relationship that ended?

I get a certain amount of criticism for making films that encapsulate interpersonal relationships and family dynamics. Some say I create melodrama over relationships but it’s because these are the everyday dramas of our lives. A few days ago the problems plaguing us were issues concerning estranged relationships with family members, that fight you had with your sister or that impending break up with your lover. Our focus has now shifted to something so much bigger than us, but in order to fight this fear, in order to regain confidence as a city, we must strengthen ourselves. We must fix our problems at home before we can tackle attacks from outside.

The hypocrisy unnerves me. We have issues with political figures, but how are we at home with our parents? We can’t fix anything on the outside until we fix our equations on the inside. The universe has given us a body of relationships that we have a right to live up to – and we have no business expending our energies on vocalizing disdain towards the system or typing out petitions for change until we create peace in our individual worlds. Only then can we have peace on the streets. Only then can we truly be fit to fight.

A lot of anger has been spewing and stewing, and now seems like the perfect time to point fingers and run our throats hoarse. Everyone has a theory and most have taken a stance on something without allowing facts to surface. People criticized the media coverage, but how about acknowledging the tremendous amounts of bravery that went into tirelessly reporting horror and carnage? A load of what was showing up on my TV was perhaps misinformation, but for the most part, I felt an undeniable pride towards the journalists who risked their lives to report some version of the truth. They had educated opinions and I wondered what would happen if certain members of the media were put in parliament. Doesn’t sound like such a bad idea right now, does it?

In our every day lives where maybe we went to Tiffin for lunch or did some window-shopping at the Taj, we now feel unsafe in our cars with tinted windows and our buildings with multiple watchmen. We now feel what a section of the city’s lower-middle class felt on July 11th, 2006 when their security was threatened. Affluent members of society now prance around panels claiming Bombay is no longer safe. This city isn’t safe now, nor was it safe 2 years ago.

This one particular observation deserves a mention because it summarizes our biggest strength and weakness as a city. My friend Niranajan, a gifted writer, put across with remarkable simplicity that, “The only people who did anything to mention over the past 3 days were the NSG who quietly came in, stoically risked their lives, killed our enemies, walked out onto the debris filled streets, boarded red BEST buses and went home.”

I returned home from my trip and went and hugged my mother. We didn’t have an issue to sort out. We’re fine and always will be. But just in case, just to be able to sleep better at night, I had to make sure the simple threads that make up my life were strong and in tact. Only then did I feel fit to tackle the situation outside. But I have to ask, how fit do you feel?

I know this is going to sound a bit redundant, but I'm terribly sorry for not blogging in so long. There's been so much happening in my life and in the office that I haven't had a chance to take a breath. So, here's me inhaling some thoughts and exhaling some love and gratitude.

Thank you all, sincerely, for helping to make Dostana the success that it is. It's heartening to know that a film, comedic for the most part, can still make an impact on people’s thought processes. No one's cringing at the image of Abhishek and John frolicking in the sand, and no one’s walking out of cinema halls in discomfort. Rather, the number of repeat viewers in the first weekend itself has been the true testament to the success of the film and more importantly, to the way it's been treated. We've taken a topic that is still largely considered taboo to talk about in our society and used it as the impetus for a hilarious comedy. Our male lead characters are playing gay to their advantage, quite the opposite of those who feel the need to stay in the closet because of the narrow-mindedness that exists in our country. We weren't trying to be controversial or push the envelope gratuitously. Our principle aim is to entertain, but if we can change a few hearts and minds along the way, well, that's precisely what makes filmmaking so special.

For the most part, the response to the film has been extremely positive, but as expected, there have been those out there who have voiced their disdain towards our efforts. I'll be honest; it did bother me, but only for a few short seconds. Anyone who knows me knows how open I am to critiques and opinions from all sides. If I can dish it out, I can take it myself. I'm only disappointed that these - and I use these words very loosely - seemingly literate, progressively thinking members of the media argue that Dostana is offensive to homosexuals. I only wish I had called them to a recent screening we had for members of the gay community in Bombay, who laughed and laughed, cried and left the cinema hall gratified. I don't need to say any more about this because our work here, to put it very simply, is done.

The music of the film still plays constantly in our office. My staff is taking their friends and family to watch the film over and over again with excitement and pride. The buzz for Dostana has just begun and in the lives of those that worked on it, the journey remains an exciting one. I hope you continue to experience the high we're all on right now. Watch the film again - it gets funnier with every viewing.

Love and koffee,

Karan

p.s. I’m leaving for Philadelphia in a few days where Rensil’s film starring Saif, Kareena, and Vivek film has commenced, and will blog about that trip once I get back.

Hey everyone:

I’m really sorry for not blogging quite as regularly as I’d like to. Many reasons attribute to that. I’ve been swamped with work, with deadlines to meet and have simultaneously been combating the viral (and I will kill the next person who says "it’s in the air.")

I have been reading all the comments posted on the blog and want to address a few in particular:

Many felt that I had left out Kajol’s performance in “U Me Aur Hum” in my shortlist of specials from this year of cinema. My actions should speak for this already, because I actually think Kajol is possibly the best actor the fraternity has seen in a while and I do believe that her genius is unquestionable. Maybe I’m so absorbed by her character in my film that I’ve not been able to go beyond that and judge her other work. I apologize for having left her out but it’s quite possible that I take anything she does on screen for granted because she really is just that good!

The current status on “My Name is Khan” is that we start filming on the 15th of December in Los Angeles. The ensemble cast has recently been finalized and we have started the process of song recording. I’m going for my final location recce with my Director of Photography, Ravi K. Chandran, Production Designer, Sharmishta Roy and Costumes Designers, Manish Malhotra and Shiraz Siddique. To say I’m nervous is still understating my state of mind because there are some moments in the day where I do feel extremely incapable of handling this complex film. But I suppose venturing into new territory and tapping into the right tone is a challenge I look forward to taking on.

Rizvan Khan, the protagonist in the film, suffers from Aspergers Syndrome (high functioning Autism) and Shibani Bhatija, the screenplay writer of the film has researched this disorder very accurately and I can’t wait to see Shah Rukh portray it. The message that runs right through the film is in strong support of humanity, which at the end of the day is the only way to rise above any of the cultural or religious differences that continue to engulf us.

To give you an insight into what’s happening behind Dharma doors; “Wake Up Sid!” (with Ranbir Kapoor and Konkona Sen Sharma) is about to start filming in a day or two (post the industry strike) and Ayan the director is heading towards a nervous breakdown. The “Dostana” website is up (http://www.dostanathefilm.com) and can also be linked via the main Dharma Productions website. Also, the music released today. Again I would love to hear what you think of the soundtrack once you give it a listen.

So that’s all for now. My steam inhalation awaits me.

Love and kough syrup,

Karan

p.s. belated Eid Mubarak to everyone. I hope the new season brings in lots of love, positivity, and peace of mind.

It's official - Naseerudin Shah is a genius. OK, I needed to get that off my chest. Moving on. I saw “A Wednesday” on Thursday and it made me hopeful for every Friday that is going to come our way. Neeraj Pandey’s (in my opinion, the finest directorial debut in a very long time) narrative flow, technical expertise, and hold on the tonality of each and every scene is exemplary. There is not one false note that rings through the film and every member of the ensemble cast (save the “superstar” character on the receiving end of “threatening” underworld phone calls) delivered the directors’ vision to full satisfaction.

Anupam Kher is, and has always been, a superb actor and his performance in “A Wednesday” serves to remind mainstream filmmakers that here exists an actor who's been largely underused in the past. His restraint, silences, and body language are pitch perfect. The poignancy of the film, the message behind the proceedings, and some of the subtle layers that hint at the system at large are relevant even more so today.

Coming back to Naseerudin Shah, his climax monologue is elevating and commands an ovation. I feel inferior in every way to comment on his genius, so all I’m going to do is request this acting institution to take more part in the new Indian cinema movement that thrives today. It would be entirely our loss as a fraternity if we didn’t see more of him. Watch out for his expert dialogue deliverance and you will realize that acting without acting is an art only he has mastered. More power to the team that made this small, large film.

Love and koffee,

Karan

p.s. We finally finished the filming of “Dostana” and are gearing towards the films music release on the 30th of September. A request; it would be absolutely great if you don’t download the album and instead invest in the music, because I do believe it's well worth the money spent.

It hasn’t been the best year for Indian cinema. The expected highs sank to lows and the perceived lows lived up to expectation. I’ve mostly felt unchallenged as a filmmaker and deeply disappointed as a cine-goer. There have been few (but far between) silver linings on the bollywood clouds and I feel compelled to list a few.

The Jodhaa-Akbar chemistry was pleasantly surprising. Ashutosh had displayed a tremendous flair of narrative and conviction in his earlier works. His foray into “old world” romance had all die-hard romantics begging for more and Hrithik and Aishwarya gave historic performances (pun totally intended.) The pace was not really the virtue of this film but there were various other cinematic elements that more than made up for it.

Jaane Tu Ya Jaane Na. I felt young and depressed when I watched this film. Young because it took me back to the backbench days of my college life and depressed because those days are now a distant memory that high doses of Aspartame are erasing by the hour. I remember seeing the film and then confronting my mirror. I’m worth it so thank god for L'Oréal, now the grays can be covered. Botox is now the next stop. Anyway, back to Jaane Tu Ya Jaane Na and the wonderful Imran and Genelia. Imran displayed a casual confidence that made him endearing and eminently watchable. He has great lineage but still stands apart and has an individualistic charm about him. More power to him…. Genelia was fresh, earthy, and rightfully energetic. Here’s an actress waiting to exhale. I hope she makes the right career choices and carves the correct niche for herself. This is almost like a re-launch for her in Indian cinema and I’m sure she will more than live up to all the expectation.

My favorite actor in the whole world is Rishi Kapoor. He was natural at a time when overt, theatric performances were the order of the day. He combated over-the-top and made nuance his strength. Ranbir is a brilliant follow up to a legend. He’s a star and displays all the elements and prerequisites for mainstream lead roles. Hidden beneath the controlled body language and nimble dance abilities definitely lies an actor. I’m dead sure in years to come that Ranbir will emerge as an “actor/superstar”, a very rare combination.

Rock On is by far the best looking film of this year. Jason West captures the mood of a rock concert with unbelievable expertise. This brave endeavor is a huge technical victory and a lesson to learn for all of us filmmakers. The production design, ambience, and styling are pitch perfect. Farhan and Arjun were born to be rock stars and it almost seemed like their childhood dreams came true on celluloid. Special mention must go to Shahana Goswami who displayed the best piece of acting I think I’ve seen in years. Excel Entertainment (headed by Ritesh Sidhwani and Farhan Akhtar) definitely needs a pat on their backs for continuing to consistently be cinematically progressive.

So that’s all I liked this year. There’s a lot I didn’t care for but I’m just somebody who likes to focus on the good, and hope the bad gets better. I’m now waiting for the crème of the fraternity to shine on Eid, Diwali and Christmas. Fingers crossed.

Love and koffee,

Karan.

p.s. Heartiest congratulations to Ram Gopal Varma and his sleeper hit “Phoonk” I haven’t seen it (and don’t plan to) but still feel congratulations are in order. Also, I get a lot of enquiries and comments about “My Name is Khan.” I’m afraid to talk about it and divulge too much as the film is still very nascent in its stage but please stay connected and thanks for all the interest.

Hey everyone! Don’t worry, this isn’t the replacement to my next blog, just an urgent note to all of you that the teaser promo for our next film, “Dostana”, will be available to view on our website tomorrow and is also attached to “Bachna Ae Haseeno”. PLEASE please please check it out; I’m anxious to hear your thoughts.

Love and koffee,

Karan

p.s. Just to clarify, I don’t hate Ram Gopal Varma. Hate is too strong an emotion to waste on anyone or anything. I regard some of his work and I’m indifferent to others. He’s no friend of mine and will never be, but I see no reason to bear any animosity towards him; the poor fellow can do with some love. This is my reaction to a series of questions I’ve been asked about the status of my emotions towards him recently. Happy Independence Day!

He swings from one building to the next, extracting from New York City any and all threats that may captivate the fictitious city present in most Marvel comics. Oh, and he grosses over USD 2 billion at the box office worldwide for three films. You pull the face off the blue and red mask and you have Tobey Maguire, an actor previously known for obscure roles in independent films such as “The Ice Storm” and “Cider House Rules”. Somewhere, a studio executive decided to make him their brand, a brand that they control every step of the way, a brand with longevity. Who needs stars when you can create them yourself?

Jet 14,020 kilometers to Bombay, and you encounter a very different scenario. Producers wait months, sometimes years for a chunk of dates from their star of choice. And there are only so many to choose from. 20 days, 35 days, even 15 days with breaks in the middle will do. Concessions are made and egos inflated, because the reality has been that without the star, the film won’t ever make it out to the galaxy. Earlier, a year filled with a higher number of newcomer releases was an anomaly, and financially, still struggled to make a mark, with the exception of Hrithik Roshan’s debut film, “Kaho Naa Pyaar Hai” that brought in stupendous business at the box office.

This year however a shift occurred with our audience; they got hungry for something more. Their desire to experience something fresh has resulted in “Jaane Tu Ya Jaane Na” becoming one of the biggest hits of the year so far. A bonafide blockbuster, the film has made over Rs. 50 crores, a feat considering the budget of the film was minimal by all accounts. Despite the lack of a star on the project (Aamir Khan’s fantastic publicity can only provide so much of a boost to a newcomer’s vehicle) audiences have rushed back to the cinemas to watch a much-adored film with unknown actors and a debutant director. One could argue here that if all audiences wanted were fresh faces, other releases with new actors would have encountered a similar fate at the box office. To that I offer an explanation that can be summed up in one word; screenplay. Hype and marketing are neccessary functions to generate buzz, but eventually ineffective in determining the long term success of a film. The story has to be appealing and approachable, and the audiences will find a way to escape into that world on their own.

Today, the most successful comedies in America are films made by Judd Apatow, the 40 year old director behind the hilariously tongue in cheek “The 40 year old Virgin.” Apatow, now a brand of his own, has the power to demand millions from investors to throw into a film with a mostly unheard of (and usually extremely quirky) cast. Cinemagoers flock to theaters to watch a film because, “it’s made by the guy who made ‘Knocked Up’ and ‘Superbad’.” Trends catch on at an alarmingly fast rate in the West, and brands are immediately leveraged to their maximum ability. This is when a predominantly creative industry adapts a business prospective and succeeds.

Liberties and licenses like these are rare in our industry, where the producer is almost always held to ransom by the star who knows very well just how much moolah his (or her) name can rake in. The biggest challenge facing this situation is that now our stars only want to work for themselves. Why make someone else money when you can set up your own shop and take the largest cut? It makes perfect sense, and they shouldn’t be faulted for it. But where does that leave the producer sitting with a decent script, a fair amount of money, and the desire to create some entertainment? To truly think progressively would be to pose the question; should we be getting rid of the star system in our industry, or at least reevaluating the discipline that has previously existed? Is it now time to create a successful vehicle by creating the star, creating the franchise, and building a brand without dealing with the trappings and baggage that come with that one solo force; the actor?

Filmmaking cannot be dependent on singularity. No one element ensures a hit, and it’s time for that fact to become wider knowledge. If sequel after sequel of superhero films is the order of the day, or teenybopper flicks (like Disney’s massively successful franchise, “High School Musical”) are what sell tickets, then a scavenger hunt is in order. The solutions have definite risks, but imagine this; make the script the star, the visual effects the draw, and the director the force. Talent needs to be discovered and molded, contracted and disciplined till the project or the franchise has lived out its entire duration and the doors open for another burst of something new.

For an industry that depends almost entirely on the profitability of a handful of actors, the risks have now become too high to continue to sit, wait, and wish. The Indian film fraternity needs to veer towards a more independent approach to casting and image. It’s a truth that I have come to accept as well. My admiration and fascination with stars hasn't diminished one bit, but I realise my own reservations towards working with newcomers, a realisation that is now being rectified. Ultimately it’s not just about a new actor and all the plotting that comes along with creating that brand, but rather an influx of fresh talent, whether its your star, your screenwriter, your director, or even just your approach. The truth is that there is no such thing as a guaranteed hit. The industry has learnt that in a harsh way over the course of a few years. A new strategy is the order of the day, especially with an audience that gets more discerning by the week. The stakes are high, but none of us are here because filmmaking is perceived to be easy. We’ve always welcomed a challenge and should now welcome some change.

As I prepare to dash out of the office to make what seems like a hundred pit stops before boarding a flight to the US for prep work for “My Name is Khan” it dawns on me that I’ve not had a moment to collect my thoughts for this weeks blog. So far I’ve shared with you my thoughts and opinions on topics with varied levels of interest and relevance to my life. To dig a little deeper, and share a little more, I give you this week something incredibly close to my heart.

The other day at home sifting through piles of memories, I came across some pictures that instantly transported me to a time in my life that meant so many things to me, and the people surrounding me. The making of my second film, “Kabhi Khushi Kabhie Gham” was a larger than life experience. Every element stood out as a first for me. The scale and opulence of the film has been talked about for years, but in truth, the film had a cast that we may never see together on screen again. The characters had lives that were unabashed and indulgent, and my actors played into that with confidence. My crew wore an energy that was magnetic and constantly rejuvenating. Most importantly, above and beyond every other reasoning, it was the film of mine that my father loved the most. These fading, stained, and slightly abused black & whites bring back to my life a fond and vivid reliving of color, lights, camera, and action.

Please enjoy...

Love and koffee,

Karan.

It’s an exciting time at Dharma Productions these days. The office is buzzing with energy and enthusiasm. I love it! We’re in the midst of producing 5 films, which is a first for us. Needless to say, fear, anxiety and restlessness are now part of my life. I’m not complaining, this is what I wanted for my production house after all. My father built Dharma from the ground up and it’s been my dream and passion to take it to a much higher level. Last night I sat down to write this blog. It’s been a stressful week so I couldn’t think of anything clever, witty or interesting to say. I was going through what you might call a blogger’s block. I kept thinking of all the work I have pending on my table and all the creative juices that needed to flow. So I thought this week instead of sharing my thoughts with you I would share my workload. So, here goes:

“Dostana” is releasing on November the 14th. It’s being directed by my assistant, Tarun Mansukhani. Tarun has a tremendous flair for comedy and is genuinely a funny guy. He’s been fiercely loyal to Dharma, and loyalty is rare, especially in an exceptionally opportunistic environment. We all love him and hope his first film flies at the box office. The music will be out on the 30th of September. If I may say, Vishal and Shekhar have outdone themselves. What they’ve delivered is a foot tapping, melody filled album that I hope you like. Let me know what you think of the music when it’s out.

Our next film to go on the floors is tentatively titled “Wake up Sid!” It’s being directed by Ayan Mukerji (yes, for those inquisitive ones, he is Kajol and Rani’s cousin). He’s 24 and super bright. He assisted me on “Kabhi Alvida Naa Kehna” and has written an extremely charming screenplay. It’s a coming of age meets a slice of life film. The casting is unusual and perfect for the narrative; Ranbir Kapoor and Konkona Sen Sharma. It should be out summer 2009. Give us your feed back on the title, “Wake Up Sid!” I would love that.

Rensil D’ Silva, the screenplay writer of “Rang De Basanti” is directing a thriller for us that should be out autumn of 2009. It’s a story idea I’ve had for years, and Rensil has written an exceptional screenplay. It’s his first feature as a director, though he has a tremendous body of advertising film work behind him. The principal cast comprises of Saif Ali Khan, Kareena Kapoor, and Vivek Oberoi. It’s an edge of your seats thriller with global terrorism as a backdrop. And that's all I'm saying about that for now!

“Koochie Koochie Hota Hai” is Dharma’s foray into the animation world. We’re co-producing the film with Prana (a seasoned animation house.) The film has the soul and narrative of “Kuch Kuch Hota Hai”, it just belongs to a different world; an animal world devoid of any human inhabitants. The core love story is between three dogs, and the supporting cast has roosters, bears, pigs, cats, and many others from the barn. Shah Rukh Khan, Kajol, and Rani essay the voices for “Rocky”, “Angie”, and “Tina” respectively, (minor tweaks on the original names.) It’s being directed, again, by Tarun Mansukhani, who also assisted me on “Kuch Kuch Hota Hai.” It would be interesting to see his animated interpretation of my debut film. Potential release date: late summer of 2009.

“My Name is Khan” goes on the floors in November of this year. The film is going to be shot extensively in Los Angeles, San Francisco, Washington, and Mumbai. If all goes well, we should be out late next year. What do I say about it? At the heart of it, it’s a love story. At the soul of it, it makes a social comment, and at the whole of it, it’s a human triumph tale.

All your good wishes and energy will truly help the karma at Dharma. Please keep it coming, every word of support counts. It's a full plate, and it's never looked more appetizing. I’m going back to work now, I’m feeling much better. Lighter.

Love and koffee,

Karan

p.s. I’m going to be traveling extensively for the pre production work for “My Name is Khan”, so my blog postings might be a tad irregular. Bear with me, and don’t stop commenting. Thank you for listening…

I love the film fraternity. I love everything about it. Nowhere in the world will you find such a cocktail of complexes, complexities, contradictions, and of course, charisma. We are unique and our DNA must be preserved for posterity. Why deny generations ahead of our vanity and our insanity? Pardon the rhyme; it’s with good reason. So what makes us so special? Well, read on.

In Denial:

We deny our relationships, affairs, infidelities, and enmities. We love denial. God forbid if we started admitting to things, the speculation would stop, and we just can’t have that. We like to be in the news, and to make sure of that we employ publicists who plant stories under our surveillance that we later deny with an absolute straight face. It’s called "The Art of Convenient Alzheimer’s." Of course within close, or not so close circles, we go on about the invasive paparazzi and the trashy tabloids. The truth is we love the invasion and we feed off the trash. We deny this of course. It’s a vicious circle that we’re completely square about.

Star Hatings:

Favorite conversation piece at fraternity affairs: critic bashing. It’s more fashionable than bling (Bappi’s back!) From saying they are bought to calling them biased, we don’t leave a single stone unturned. We take all the critics’ comments personally and feel it’s a vendetta against us. But we love the persecution complex. It’s our favorite emotion. To think of it as an objective point of view is something we just cant wrap our heads around. Maybe we actually made a bad film??? Oh god, how could I have just said that?! We never make bad films, we make “misunderstood cinema”, understood? All this can change because all it takes is a 4 star review (5 stars would be pushing it) and paragraphs of gush and we’re back on track. A critic is on our speed dial, he’s a member of our family, it’s all about loving the critics all over again. The next step is to give full-page ads in leading newspapers highlighting the critic’s comments in “inverted commas.” Double standards?? Don’t be silly; we think it’s our birthright.

Disease of Delusion:

The fastest spreading disease within the fraternity is the disease of delusions. It can give any viral a run for its medicine. We are delusional about the box office figures of our films, our current star status, our lover’s fidelity, and our physical appearances (though thanks to Photoshop, that gets taken care of.) Sometimes I wonder if we just turn a blind eye or have genuinely inhabited planet delusion. I’m hoping for the former, it would make us more real. Hmmm, being real…wonder what that feels like. Anyway, moving on….

And the Loser is…:

A very wise man once told me, (oh forget it, lets give credit where its due) Javed Akhtar once told me, “Take the awards seriously the year you get them.” Year after year we’ve been going on about the commercialization of our film awards. The rigged decisions, the lobbies and the camps, the jury villains and the vamps. Yet year after year we land up in our shimmering saris, ill fitted gowns and tacky tuxedos. The criterion for turning up is simple; either we’re winning or performing. A combination of the two is ideal. The only other reason to turn up would be to market a close to release film or give tight television close-ups to ex, current, or potential lovers. The spirit of competition??? What’s that? Please lets not discuss alien concepts.

I could go on and on but I must practice some restraint. Also, I’d like to add that I’ve used “we” everywhere because I’m very much a part of the above disorders (barring maybe the tacky tuxedos, I think mine are quite nice.) To be fair to us, the stakes are high, competition is fierce, and stress levels are cardiac friendly. Nowhere in the world is anyone’s work judged globally like ours is and we wage battles everyday till we reach the “Friday wars.”

So please allow us our quirks and shortcomings. We never claimed to be perfect; you put us on that pedestal. Chew on that while we go back to making movies, for what in the world is better than that?

Amen.

Love and koffee,

Karan

p.s. I continue to read all the comments. Thank you again from the bottom of my heart. Many inquiries on “My Name is Khan” I promise to tell all in good time. I do wish to correct some misconceptions, though. The film is not based in New York, and Shah Rukh Khan is not playing a terrorist. I love you all, and if you haven’t aleady watched “Jaane Tu Ya Jaane Na” go right now and watch it. It’s fresh, it’s real, and completely audience friendly.