If 'Bhoot' was called 'Man Ke Rishte,' no one would be interested. The title is a very essential part of a film. It subconsciously prepares the audience as to what they can expect.
It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.
My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.
The title 'Dohchay' is very perfect for the film. It is used very well in the title track. If you see the film, you will understand it.
Ke$ha is her art; there is no curtain you peel back to find the real person. And with Ke$ha, you never know what to expect when you're in the studio.
Working as an AD and producer prepares you in the sense that you know what you have to do to make a film. But nothing prepares you for your first film.
I really respect the kind of compliments and appreciation I am getting for my work in 'Sonu Ke Titu Ke Sweety,' and I will make sure that I will not disappoint my audience in future.
I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.
This is part of the fundamental character of Buddhism that I find problematic - that it is not interested in anything. Hence the 'Fascination' in the title of the essay, the fascination of art and creativity, stands in opposition to what is called 'Liberation'.
I'm a very big believer that the reason you've seen this huge surge in superheroes both on television and in film is...part of it of course is zeitgeist. There's no denying that there's a huge appetite on the part of the audience in both TV and film for these kind of adventures.
After I was cast in the acclaimed film 'Khuda Ke Liye,' I thought it would open up film avenues for me in Pakistan and, maybe, even internationally. When that didn't happen, I decided to use TV as a means of polishing my craft.
The very first picture that I did, the director came up to me on the street - I was 14 at the time - and asked me if I would be in a short film that he was doing called 'Pigen og Skoene,' which means 'The Girl with the Shoes,' which is a funny title but that is how it is.
I am part of another film by Abhimanyu titled 'Hullor.' There is also a comedy flick 'Bhoot Chakra Private Limited' by Haranath Chakraborty, where three friends embark on an adventure with a machine created by one of their grandfathers, which can see the past and hunt ghosts.
My audience expects cold, hard truth. They don't expect me to dance around it. They expect me to say it the way they think it. That's part of my brand. If I don't do that, then my audience goes, 'What's up? Is he sick or something? What's wrong with him?' The entity has a brand.
When I choose the title [for my book], which was my favorite title, I felt sure there was going to be a dozen books maybe with that name already because it's so obvious to me that that's the message. I was surprised it hasn't been the title of a single book. Well, there is a Shel Silverstein children's book called Falling Upwards. But no one has chosen Falling Upward as a title and I'm very happy it's right on the cover.
Is an audience open to seeing a film that isn't what they expect when they see a film that's been adapted from a children's book?
I'm interested in making films of all sizes. During this time I've made a film called 'The Boy in the Striped Pajamas', which is a modest-sized film. I was involved in 'I Am Legend' and 'Yes, Man', but 'Potter' is unique. There'll never be anything like 'Potter' again.