Hindi
“I am completely monogamous, and abhor the concept of open relationship”: Vidya Balan in IMDb’s ‘Ask Each Other Anything’
Mumbai: On the release of Do Aur Do Pyaar, starring Vidya Balan and Pratik Gandhi, the actors appeared in the IMDb original series ‘Ask Each Other Anything.’ This romantic comedy explores the intricacies of the relationship between a husband and a wife. They engaged in discussions about intriguing aspects of their personal lives, shared their experiences on set, and reflected on what they learned from each other throughout the journey of Do Aur Do Pyaar.
When asked about her reaction upon discovering she would be working with Pratik, Vidya responded, “I had watched ‘Scam 1992: The Harshad Mehta Story’ already, so when Tanuj, Atul, and Swati (the producers of the movie) came home, we were discussing various characters, and for the role of Ani, they said ‘we’ve thought about Pratik Gandhi, the guy from Scam 1992.’ I was like, ‘Wow!’ He was fabulous.’ It didn’t feel like you were acting in the series even for a minute. If I didn’t know how Harshad Mehta looked, I would have thought it was you. So, I was very excited.”
As the film revolves around relationships, Pratik asked Vidya about her perspective on open relationships. Vidya said, “I don’t understand the idea of an open relationship. I think you can be open with each other about everything, but when you talk about open relationships and open marriage, you are talking about being okay with your partner being with someone else, sharing your partner with someone else. I am not okay with that. I am completely monogamous, and I believe in monogamy. I abhor this concept of open relationship. If it works for you, great, but I cannot fathom how it works for someone.”
While the conversation was brewing, Vidya asked Pratik to suggest three films everyone must watch. Pratik said, “I feel I get connected to the strongest emotions the most, and I find myself a very common audience. So, I feel The Pursuit of Happyness and Sadma are films that have layers of emotions and are conveyed simply in the most human possible way. One more is Hera Pheri because of their comic timing, which landed every time I watched, and I have watched it multiple times.”
Additionally, given Pratik’s theatre background, Vidya asked him about the one thing he would like to take from theatre and apply to cinema. Pratik responded, “I think what I have seen and what I have done is the discipline and duty toward the story. You have to actually leave yourself and cut your ego and become selfless to tell the story in the most honest possible way. This is what helped me, because as an actor, we constantly deal with egos onset and offset, everywhere, and also sometimes while performing. So, certain humility towards the process and being true to the storytelling is important. Also, theatre makes you human because one show will work wonders and the other show might not, so you don’t lose your heart quickly. So what I have learned from theatre is that all the claps are for the characters and all the criticism is for me as an actor. So if this is what we experience in cinema, then a lot of things will change”, he added.
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.
