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That’s Scary

The Indian audience has become very choosy about the films they want to watch, provoking a shift from star-driven cinema to content-driven films. This change has thus given new directors a platform and they have been coming up with some refreshing concepts. This week the spotlight is on Tinu Suresh Desai, who will be making a debut in the industry with his film 1920 London  

Background

I have always wanted to become a director so I started assisting very early, with directors Neeraj Pandey and Vikram Bhatt. My journey with Vikram Bhatt goes back a long way, starting with working with him in Shaapit. I started assisting back in 1997 withZameer, Rajat Rawail’s movie, after which I worked with many other directors.

On Bagging 1920 London

After Vikram Bhatt decided to make the third part of 1920, they began searching for a director. Since I had worked with him inShaapit, he was familiar with my work. But my name came through Neil Nitin Mukesh, with whom I have worked in Players as an associate director. Neil suggested my name and since Vikram already knew me, I got a call from him. So, bagging this film was a cakewalk for me.

The Struggle Starts

I have worked in the industry for a very long time and I have worked with the best directors. So when I got my first break as a director, I thought I had cracked the formula. But it was only after the film was made that the real struggle began. There were many challenges and we couldn’t release the film for a while. That can be very upsetting when it is your very first film. I am very relieved that the film is finally releasing.

On Horror Films

Horror is a very tricky genre in our film industry. Not everyone likes watching horror films, so the genre has a select audience. As a filmmaker, it is my duty to make a good film because it means that people will come and watch it. The audience no longer goes by genre; they want good films and reject the bad ones. Even films featuring A-list actors have not been spared (when they are not good), so it’s a clear sign that the audience only accepts quality films.

On 1920 London

Today, we have sub-genres in horror and many more genres are being added. But 1920 London is a clean film and it also has a thriller element. Also, our horror films are usually based inside a house but ours is not restricted to a house. The scale of the film is very huge.

On Rustom

I had worked with Neeraj in Special 26 and we had always thought of working together. When nothing seemed to be working out, I got a call from Vikram’s office. Neeraj told me that I should take up 1920 Londonand that’s how it became my debut film. I share a great bond with Neeraj, so when he had the story ofRustom, he called me and that’s how my second film as a director happened.

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