Hindi
Saif Ali Khan mulls 3D sequel of Agent Vinod
MUMBAI: After the release of his spy drama Agent Vinod, Saif Ali has Khan has started work on his next assignments.
On top of the list of his prioriities is a 3D sequel of Agent Vinod. “I don‘t understand 3D and don‘t enjoy it, but my son does. So, may be for the larger portion of audiences, one should consider it for a sequel,” Khan said.
Khan is also mulling with the idea of making an action thriller that would be based on a French comic book. He has already procured the rights to adapt the book for a film remake.
Said Khan, “The film is definitely on the anvil. This is a great story and if it is done in the right way, it would be something unique. Beyond that, it would be premature to talk about the director, cast members and other details. Let‘s wait for a while for the complete announcement.”
The film, expected to be mounted on a huge scale, would be co-produced by Khan and Fox Star Studios India and directed by Anurag Basu.
Both Khan and Basu will sit across to finalise other logistics before bringing the film on the floors after the latter finishes his production in progress film Barfi.
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.
