Hindi
Deepika Padukone, Taurani patch up for Race 2
MUMBAI: After two days of negotiations, Deepika Padukone has finally decided to jump back on board for Ramesh Taurani‘s ‘Race 2‘, though she has set some conditions.
It is being said that after meeting Taurani yesterday, Padukone realised that it wouldn‘t be in her best interest to contest the filmmaker on monetary grounds.
Though the official CINTAA (Cine and TV Artistes‘ Association) meeting was called off 30 minutes before its scheduled time on Wednesday, the actress did end up meeting CINTAA general secretary Dharmesh Tiwari who asked her to stay away from monetary hassles and say ‘yes‘ to Taurani.
The conditions that Padukone has set are that she will not allot fresh dates to ‘Race 2‘, as she will be busy with Rajinikanth‘s ‘Kochadaiyaan‘ and the Ranbir Kapoor starrer ‘Jawaani Diwani‘. She has asked both Taurani and director Abbas-Mustan to not work with middlemen; she will only work with her chosen set of designers, hair stylist and makeup artist; she wants the makers to consult her for the release of their film because she wants no misunderstandings during the promotional phase of the film; and in case of a foreign schedule, the actress wants to be informed a month in advance.
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.
