Hindi
Akshay’s Boss gets into the Guinness Book for the largest poster
Actor Akshay Kumar’s film has created another record even before its release – it has entered the Guinness of World Records for the largest film poster in the world, a record so far held by Michael Jackson’s This Is It.
Akshay’s fan club, which calls itself Team Akshay, decided to swing into action. Logistics were put into place and work had begun to make a special poster of Boss that would be the largest poster in the world which was completed in four months.
The largest poster in the world was achieved and unveiled at Little Gransden Airfield, Little Gransden, UK, on 3 October. Macro Arts (UK) did the manufacturing of the poster. Incidentally, Macro Arts is the same company that had made Michael Jackson’s poster.
The world’s largest poster of Boss is 58.87 metres wide and 54.94 metres high. When the Guinness officials came to measure it, it was recorded that the Indian Boss film poster had beaten Michael Jackson’s record by a 15 to 20 per cent margin.
The official certification for the same was done in the UK itself and the Boss poster also finds a mention on the official Guinness website.
Actor Akshay Kumar said, “It’s a matter of honour. I thank everyone who made this possible.”
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
