Hindi
Anurag Kashyap in recreating Mumbai of 1960
MUMBAI: Anurag Kashyap, the filmmaker who is known to create and recreate cinema every time through his innovate concepts and ideas, is slated to come up with a new venture ‘Bombay Velvet‘. The movie has been made on historical lines of Mumbai, where he has recreated Mumbai of 1960s and filmed the story of how the city became a metropolis. The movie starring Ranbir Kapoor and Anushka Sharma has been shot on the various locations in Sri Lanka.
According to him, "It is set in the 60s and I needed a consistent heritage look and a skyline to loyally depict the era. But, Bombay‘s skyline has transformed dramatically, most of the heritage buildings have been replaced by high-rises. So it did not fit the period we are looking to recreate. That‘s why we are shooting in Sri Lanka, starting next month," Kashyap told PTI.
He further informed, "Unfortunately, India does not have a culture of preservation, whether it is films, monuments or buildings. Cities like Bombay have not been able to preserve their architectural heritage in the race for urban growth, and hence period films will face serious challenges in India, both in terms of shooting and authentically recreating the era."
The writer-director whose movies, in the last few years, proven catalysis and brought into revolutionary changes in the Hindi cinema, including Dev D and Gang of Wasseypur, shared his challenges that he came across while researching for the film during the pre production process.
The real challenge is unavailability of evidences or blueprints as most of the heritage buildings in Indian cities have either "disappeared or have been modified beyond recognition".
As he elaborated on various challenges which he faced while researching on the topic, "Not only the buildings were missing, we did not know how an area, or the city in general looked during that period. So, we took help of not only available archival images but also approached families in Mumbai to share their old albums to help us in reimagining Bombay 50 years ago, a Bombay now largely missing in a vertically-growing Mumbai," he said.
Some parts of the film are also likely to be shot in studios in Mumbai.
The film is based on historian Gyan Prakash‘s book ‘Mumbai Fables‘. "I met Gyan before the book was published. And, when he told me about the story, I was fascinated. I never thought Bombay (Mumbai) had such a history. And, so Gyan wrote the book while simultaneously penning the script for the parallel adaptation," Kashyap told PTI.
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.
