Hindi
Jacqueline Fernandez gears up for a power packed 2015
MUMBAI: Actress Jacqueline Fernandez is Bollywood’s busy girl these days.
The actress, who was seen in Kick opposite Salman Khan last year, spoke about her future plans and hectic schedule in a candid chat. During the chat, she revealed her love for acting and how stardom, no matter at what stage she may have achieved it, still affects her in some ways.
The long-legged Sri Lankan beauty had a very slow 2013 with almost no offers, but having passed that phase, she is now happy and grateful to Sajid Nadiadwala and Salman Khan for giving her the opportunity of a lifetime with Kick.
The actress said, “Last year I finished a Hollywood film, Definition of Fear, a Sri Lankan movie, According to Matthew and a cameo in Bangistaan. I’ve been shooting for Brothers since.”
Brothers is produced by Karan Johar and directed by Karan Malhotra, where for the first time she plays the role of a wife and young mother alongside Akshay Kumar. “For the first time, I was bringing something to the table. It was liberating to finally bag a meaningful role,” confessed Fernandez.
Not only that, after a busy 2014, this year also the actress has loads to look forward to with Dhishoom opposite Varun Dhawan, which goes on floors next month and Turbanator with Tiger Shroff, followed by Sajid Nadiadwala’s Housefull 3. “I’m greedy and trying to squeeze in one more movie in 2015,” she exclaimed with a smile.
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.
