Hindi
Shuddh Desi boy to now play lead in YRF & Shekhar Kapur‘s ‘Paani’
MUMBAI: The hunt for the male lead in Paani is over! Close on the heels of his outstanding performance in Shuddh Desi Romance, both Shekhar Kapur and Aditya Chopra had no hesitation in confirming Sushant Singh Rajput to play the lead in their upcoming flick Paani.
According to Kapur, Sushant is one of the most inspiring young actors to emerge out of India. “It‘s going to be exciting director-actor collaboration with him in Paani.” The film is based in a future world where war over water has broken out. Water is now owned by international corporations who use thirst as a weapon of control. In one such future city, a young love story breaks all the rules and in the ensuing war, water flows back to its people.
The film will have a strong Indian and western star cast. Sushant will be joined by a young leading actress from the west.
The film, produced by Aditya Chopra and directed by Shekhar Kapur, will be shot in India and overseas. Music will be by A. R. Rahman.
Paani goes on floor mid-2014.
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.
