Interview with Vipul Shah
Courtesy: IndiaFM
Tuesday, August 22, 2006
Beginning his career with Gujarati plays, Vipul Shah moved on to television and gave birth some of the most famous soap operas on Indian television. He then made his debut in films with Aankhen in 2002 with an unconventional theme of robbery by three blind men. His next film Waqt also did pretty well. And now, he is stepping into his next venture, Namaste London, which is his most ambitious project till now.
Are
you
aware
that
there
are
other
films
coming
out
with
the
name
London
in
its
title
like
London
Calling
and
London
Dreams?
And
then
there
is
Namaste
London.
So
don't
you
think
this
might
confuse
the
audiences?
Also
people
will
see
the
visuals
in
the
promos.
And
after
watching
that,
I
don't
think
there
is
any
scope
for
confusion.
As
far
as
we
are
concerned,
this
is
the
most
appropriate
title
we
don't
think
that
we'll
change
it.
Namaste
London
sounds
like
a
crossover
film.
Yes,
Namaste
London
is
basically
story
of
cross
culture.
How
the
youngsters
living
in
the
western
world
live
London,
UK,
USA,
Canada,
Australia
or
even
Middle
East
perceive
love
compared
to
the
younger
generation
living
in
places
like
Punjab,
Delhi,
Mumbai.
So
when
youngsters
from
India
meet
those
from
London,
what
kind
of
spark
will
it
generate?
That
is
the
basic
of
the
concept
of
the
film.
With
a
cross-cultural
setting,
will
this
film
fall
into
the
category
of
Karan
Johar
or
Yash
Chopra
films?
Not
really!
No
film
maker
can
actually
make
film
which
is
on
lines
of
something
done
recently
or
probably
what
some
filmmaker
has
just
made.
Everybody
has
to
come
up
with
their
own
individual,
independent
and
original
ideas.
And
that
is
what
we
intend
to
do.
I
don't
think
that
there
is
any
similarity
between
the
kinds
of
films
you
have
mentioned.
I
don't
see
any
similarity
between
them.
Every
director
has
his
own
style
so
no
maker
can
actually
make
a
film
which
is
made
by
other
director.
He
has
to
be
individual.
I
should
have
my
own
style
my
own
narrative.
If
I
don't
have
my
own
style
and
narrative,
people
are
not
going
to
accept
my
film.
Akshay
Kumar
and
Katrina
Kaif's
pairing
did
not
set
the
box-office
rolling
with
Humko
Deewana
Kar
Gaye?
Do
you
think
their
pairing
will
work
this
time?
Not
really.
I
don't
think
people
go
to
see
a
film
only
because
of
pairs
or
whether
their
last
film
was
a
hit
or
flop.
I
really
don't
consider
that
as
an
issue.
I
did
my
casting
based
on
the
characters
and
they
both
fit
in
the
characters
Akshay
is
playing
a
boy
from
Punjab
which
suits
Akshay's
personality
very
well.
The
girl's
character
is
of
someone
who
is
born
and
brought
up
in
London.
Katrina
is
born
and
brought
up
in
London,
so
she
was
a
very
natural
fit.
So
my
casting
is
based
on
the
fact
that
they
fit
the
characters
and
not
on
the
basis
of
whether
their
last
film
worked
or
not.
Besides
that
film
has
done
pretty
well
in
the
overseas
and
India
as
well.
It's
not
a
big
hit
but
is
definitely
a
surplus
film.
What
is
it
about
Akshay
Kumar
that
you
have
cast
him
in
all
your
films
so
far?
I
think
he
is
a
brilliant
actor
and
he
is
a
very
big
star.
We
share
great
comfort
level.
He
is
one
of
those
actors
who
have
achieved
everything
in
his
life
without
being
a
part
of
any
"big
camp" and
yet
he
has
emerged
as
a
very
reliable
and
successful
superstar
of
today's
times.
I
share
a
great
working
rapport
with
him
and
very
comfortable
working
with
him.
So
that
is
the
reason
for
him
being
in
all
my
films.
Upen
got
rave
reviews
for
36
China
Town?
What
does
he
have
to
offer
in
Namaste
London?
When
I
signed
Upen
I
had
not
seen
a
single
frame
of
36
China
Town.
I
just
saw
some
of
his
pictures.
Upen
is
born
and
brought
in
London
and
I
was
looking
for
a
young
guy
who
was
supposed
to
play
Pakistani
boy
who
is
born
and
brought
in
London.
Hence,
I
felt
Upen
was
a
perfect
choice
for
that
character.
After
I
signed
him
for
my
film,
36
China
Town
happened
and
I
am
pretty
happy
for
him
for
such
great
reviews
he
got.
I
hope
that
my
film
does
the
same
for
him
and
his
career
becomes
better
and
he
reaches
the
next
level.
There
is
Javed
Sheikh
in
this
film
as
well,
a
Pakistan
actor
in
an
Indian
film
based
in
London.
What
made
you
sign
him?
He
is
a
playing
a
Pakistani
father.
I
needed
somebody
like
him
to
play
that
part
and
I
am
very
happy
that
he
is
doing
it.
Pakistan
has
passed
a
resolution
that
Indian
actors
are
allowed
to
work
in
Pakistan
but
Indian
films
will
not
be
released.
Do
you
think
this
is
fair?
I
think
that
it's
a
gradual
process,
sooner
or
later
our
films
will
release
there.
But
just
because
today
we
are
not
allowed
to
release
our
films
there,
we
can't
stop
this
on
going
process
of
peace
and
harmony
between
two
countries.
This
is
our
contribution
and
I
am
sure
sooner
or
later
they
will
realize
and
acknowledge
that
the
Indian
film
industry
has
been
very
receptive
towards
not
only
actors
and
any
Pakistani
talent;
be
it
singers,
music
directors,
anybody.
So
I
am
sure,
sooner
or
later
it
will
have
its
own
impact
and
we
will
get
the
clearance
to
release
our
films.
I
am
sure
that
soon
we
will
overcome
all
these
hurdles.
You
have
brought
together
the
unique
combination
of
Himesh
Reshammiya
and
Javed
Akhtar
for
the
first
time.
Was
it
your
idea
or
Himesh's?
It
always
is
the
director's
choice
of
whom
he
wants
to
work
with.
Himesh
had
been
telling
me
that
whenever
you
make
a
love
story,
give
me
the
music
and
I
really
thought
that
he
was
an
extremely
passionate
about
it.
So,
I
thought
of
casting
Himesh
when
I
thought
making
this
film
and
he
was
the
only
choice
in
my
mind.
But
at
the
same
time
I
was
also
thinking
that
how
can
I
take
his
music
to
a
new
level,
what
will
be
my
contribution
in
it.
So,
I
thought
that
if
I
can
request
Javed
saab
to
write
the
lyrics
of
the
film,
I
will
have
nice
fusion
of
Himesh
and
Javedji's
individuals
styles.
They
both
have
the
distinct
and
strong
style
and
if
they
can
be
combined
into
the
music
album,
I
think
it
will
work
very
well.
And
the
way
the
things
are
shaping
up,
I
think
my
idea
will
work.
Himesh's
at
an
all
time
high.
So
how
has
the
music
of
Namaste
London
turning
out?
Will
he
sing
for
this
film
as
well?
See
it's
a
love
story.
So
obviously,
there
is
a
great
scope
for
music.
Unlike
my
last
two
films
Aankhen
and
Waqt,
where
I
was
restricted
in
terms
the
film's
situations
because
the
subject
didn't
allow
music
to
come
naturally.
This
provides
me
with
a
great
opportunity
because
it's
a
love
story
and
it
has
lot
of
situations
for
good
music.
Himesh
and
Javedji's
combination
has
done
some
terrific
work
for
the
film.
All
in
all,
I
am
really
expecting
this
music
to
do
exceptionally
well.
Last
time
you
had
cast
your
wife
opposite
Amitabh
Bachchan.
Will
she
been
seen
in
the
film
this
time
too?
No
not
really.
There
is
no
part
that
I
can
really
offer
to
my
wife
Shefali.
It's
unfortunate,
it's
my
loss
but
I
can't
help
it.
People
usually
cast
international
actors
in
their
film
to
add
the
star
value
of
the
film.
But
you
have
an
international
cinematographer
in
the
film.
Why
did
you
want
a
foreign
cinematographer?
Peter
Field
is
the
DOP
of
Troy
and
Da
Vinci
Code.
He
is
one
of
the
key
technicians
I
have
in
this
film.
But
apart
from
him,
my
film's
costume
designer
is
Alison
whose
last
major
film
was
Tomorrow
Never
Dies.
The
makeup
artist
of
my
film,
Kateling,
is
the
head
make
up
artist
at
the
BBC.
My
casting
director
is
Claire
Saunders
whose
last
film
was
Woody
Allen's
Match
Point.
So
my
entire
crew
is
from
Hollywood
and
they
are
not
just
amateurs
in
Hollywood,
they
are
highly
qualified
professionals
in
Hollywood.
So
the
idea
is
to
make
a
better
film
which
can
compete
on
International
level,
compete
with
anything
we
are
doing
in
India.
Today's
generation,
today's
audience
is
very
knowledgeable,
very
sharp.
It's
very
difficult
to
please
them
and
if
you
want
them
to
like
your
film,
you
have
to
give
them
something
really
good.
And
that's
the
plan
and
I
hope
all
this
technicians
will
help
me
to
create
in
a
cinema
which
is
for
today's
audiences.
It
equals
international
standards
hopefully
they
will
like
it.
Why
London
as
location?
London
is
a
very
beautiful
city.
The
fact
that
so
many
Indians
are
part
of
that
city
and
it
is
like
their
home
now
makes
it
their
home
now.
Besides
London
is
an
integral
part
of
the
story,
so
we
are
shooting
there.
From
the
3
films
you
have
done
where
do
you
rate
Namaste
London?
Obviously,
every
director
wants
to
go
ahead
with
every
film
that
he
does.
I
started
with
Aankhen
which
had
a
very
exceptional
story
of
three
blind
guys
robbing
a
bank.
Then
I
did
Waqt,
a
family
film,
where
father-son
issues
were
dealt
very
uniquely.
This
is
a
love
story
and
I
will
try
my
best
to
create
something
which
is
new
and
unique
and
interesting
for
the
audiences
to
see.
Obviously,
every
director
with
every
film
and
all
the
experiences
that
he
has
wants
to
go
to
next
level.
Namaste
London
is
a
very
ambitious
project
as
far
as
I
am
concerned
because
I
am
doing
a
love
story
for
the
first
time.
It's
going
to
be
shot
extensively
in
London,
Punjab,
Himalayas
and
Rajasthan
deserts
and
other
places.
We
got
a
great
technical
crew
with
us;
we
got
Himesh
Reshammiya
and
Javedji's
music.
So,
there
are
lot
of
great
aspects
to
this
film
and
I
hope
that
they
all
combine
well,
gel
well
together
and
we
create
a
good
film.
Once
you
had
said
that
you
will
not
make
a
film
without
Amitabh
Bachchan.
So
what
went
wrong
this
time?
That's
a
very
unfortunate.
I
was
actually
working
on
a
script
before
Namaste
London
which
I
had
narrated
to
Mr.
Bachchan
and
that
was
an
action
film
which
had
lots
of
stunts
that
he
would
have
had
to
perform.
But
then
he
was
severely
ill
back
then,
so
and
I
thought
that
it
was
not
appropriate
to
put
him
through
that
kind
of
stress,
though
he
has
never
told
me
"no" I
felt
that
I
should
not
do
it.
Then
I
started
looking
for
another
script
and
Namaste
London
happened.
Unfortunately
there
was
no
role
in
this
film
which
I
could
offer
to
Amitji.
I
won't
go
to
Amitji
with
anything
less
than
the
main
role.
But
very
soon
I
will
be
starting
something
new
with
him
and
we
are
already
talking
about
it.
Yes
it
is
a
sad
thing
that
I
am
not
having
Mr.
Bachchan
in
this
film
but
Amitji
and
I
may
be
working
together
very
soon.
Talking
about
your
earlier
films,
Aankhen
was
an
interesting
concept.
But
weren't
you
apprehensive
while
making
the
film
that
had
a
concept
of
'blind
man
robbing
the
bank'.
Was
there
a
doubt,
whether
the
audiences
will
accept
it
or
not?
Absolutely
not!
Because
5
years
back
when
I
started
making
films
I
was
very
clear
that
nothing
will
work
which
is
not
unique
and
not
different
and
also
that
times
are
going
through
change.
I
think
that
was
the
phase
when
Indian
film
industry
really
started
experiencing
the
change.
To
name
a
few
films
Lagaan,
Dil
Chahta
Hai,
Chandani
Bar
were
some
films
during
that
era
which
were
quite
a
novelty.
And
then
Aankhen,
I
thought,
was
one
of
the
great
plots
that
came
in
Indian
Cinema.
So,
it
was
a
phase
when
we
all
felt
that
Indian
cinema
was
changing.
Obviously,
the
process
is
slow;
now
it
is
gaining
some
momentum.
These
are
few
films
which
are
the
pioneers
in
this
new
phase
of
Indian
Cinema.
I
am
always
going
to
be
proud
of
the
fact
that
Aankhen
was
one
of
those
films
which
was
in
many
sense
an
institution
in
bringing
about
the
change.
Because
all
these
films
were
successful
it
gave
confidence
to
everybody
that
if
you
make
a
different
film,
chances
of
it
doing
well
is
much
higher,
unlike
earlier
times.
When
I
was
making
Aankhen
everybody
was
discouraging
me
and
saying
not
to
make
this
film,
it
won't
work.
However,
I
was
very
confident
that
this
film
is
going
to
work
and
it
did
happen
that
way.
So,
Aankhen
was
very
important
film
for
me.
There
was
buzz
some
time
back
that
a
Hollywood
remake
of
Aankhen
was
under
the
making.
Usually
Bollywood
apes
Hollywood
but
here
it's
the
opposite.
How
does
it
feel?
A
company
has
purchased
the
rights
to
remake
Aankhen
in
English
and
they
were
talking
with
Robert
De
Niro
to
star
in
the
film,
that's
what
I
was
told
by
my
producer.
The
producer
of
Aankhen
is
looking
into
that
matter.
Besides
he
is
busy
with
his
work
and
I
am
busy
with
mine
therefore
we
are
not
in
touch
so
I
am
not
aware
of
what's
happening
with
that.
I
always
believe
that
if
it
has
to
happen,
it
will
happen
and
there
is
no
point
to
keep
chasing
it.
So
I
have
left
it
to
the
producers
to
decide
when
it
is
going
to
happen
and
how
is
going
to
happen.
From
Aankhen
to
you
second
film
Waqt,
there
was
quite
a
change
in
the
genre
of
your
film.
Why
did
you
think
of
making
a
family
drama
after
a
thriller?
It's
not
sudden
transition.
I
have
always
believed
that
as
a
filmmaker
I
have
to
keep
doing
new
subjects
and
try
new
things.
If
I
keep
making
only
thrillers
or
only
family
films,
it's
not
going
to
help.
When
I
did
Waqt
and
it
turned
to
a
huge
success,
lot
of
people
told
me
that
I
should
cook
up
another
film
immediately
with
Akshay
and
Amitji
with
similar
theme
and
I
could
have
done
that.
But
then
there
would
have
been
no
joy
for
me
as
a
director
because
I
somewhere
wouldn't
have
been
happy.
It
wouldn't
be
a
film
from
my
heart;
it
would
be
more
like
a
commercial
proposition.
I
think
Amitji
and
Akshay
both
wouldn't
have
liked
that.
They
probably
would
have
done
the
film
but
they
wouldn't
have
done
it
feeling
very
happy
about
it
or
I
wouldn't
have
directed
it
feeling
very
happy
about
it.
So
that's
why
I
don't
like
to
repeat
myself,
there
is
so
much
more
to
do.
The
audience
is
ready
to
accept
every
new
thing
that
is
dished
out
to
them.
They
are
so
open
to
new
ideas
which
give
so
much
liberty
to
a
film
maker.
And
when
you
have
a
platform,
why
make
films
on
similar
subjects?
You
could
always
explore
new
things.
You
started
with
television
and
have
directed
serials
like
Ek
Mahal
Ho
Sapno
Ka.
Tell
us
a
little
about
your
early
days.
I
in
fact
started
with
theatre.
I
did
theatre
at
Prithvi
where
we
never
get
use
to
get
paid
much.
If
the
day
turned
out
good,
we
use
to
get
paid
Rs.35
per
show.
That's
how
I
started.
For
almost
around
3
years
I
did
that
theatre.
I
would
say
that
was
my
training
ground
and
my
learning
experience.
Then
I
did
some
commercial
theatre
in
Gujarati.
I
then
did
some
Gujarati
serials
for
Ahmedabad
Doordarshan.
They
were
made
in
Rs.
18,000
per
episode.
That
used
to
be
the
budget
of
the
entire
episode.
So
right
from
the
writing
to
direction
to
production
to
editing,
everything
had
to
be
wrapped
up
in
a
span
of
one
and
a
half
day
and
then
we
used
to
courier
the
tape
to
Ahmedabad
Doordarshan
ourselves.
There
was
no
infrastructure
so
we
couldn't
hire
anybody.
Then
I
did
'Ek
Mahal
Ho
Sapno
Ka'
which
actually
became
the
first
serial
in
Indian
television
history
to
complete
1000
episodes.
Also
it
changed
the
way
television
was
done
in
India.
We
never
had
daily
soaps
on
prime
time
back
then
and
when
I
went
to
Sony
saying
lets
experiment
with
this
particular
show,
they
were
also
reluctant
about
it.
I
however
said
let's
try
since
its
not
going
to
cost
you
much.
If
it
works,
great;
if
it
doesn't,
we
will
pull
it
out.
And
I
am
very
happy
that
Sony
accepted
the
proposal
and
they
put
it
on
air
and
it
went
on
to
make
history.
Simultaneously
with
Ek
Mahal
Ho
Sapno
Ka
I
did
another
show
called
'Alpaviram'
for
Sony
which
according
to
the
channel
and
also
a
lot
of
people
is
one
of
the
best
shows
made
in
the
Indian
Television.
So
there
was
a
sense
of
great
satisfaction.
Then
I
did
another
show
for
Zee
TV
called
'Babul
Ko
Duwayien
Leti
Jaa'
and
now
I
am
doing
a
show
for
Sony
called
'Thodi
Khushi
Thode
Ghum'
which
comes
on
TV
from
Monday
to
Thursday.
I
have
received
some
fantastic
response
for
that
show.
It's
already
at
No.1
position
on
Sony.
So
that
is
going
quite
well.
What
have
you
planned
post
NL?
There
are
millions
of
plans
actually.
Lots
of
them!
But
right
now
everything
is
on
hold.
I
am
waiting
for
Namaste
London
to
get
complete
and
released.
I
will
see
the
response
of
the
film
and
then
I
will
think
what
should
I
do
next.