Gadar 2 Full Movie Hindi Dubbing

[Rodney Liuzzo]

Hebegan his career performing at the theatre in Mumbai for comedy show Khatta Meetha. He has also recorded voices for commercials and Hindi dubbed movies. He is also a member of AVA India, which is an association group for Indian actors and voice artists. He is known for dubbing for Sebastian Stan as Bucky Barnes / Winter Soldier in Marvel Cinematic Universe films in Hindi.

He looks back at his long directorial career -- which started on July 14, when he gave his first shot -- spiced up with amazing insights about the movie gods. He also discusses his next film Genius in which he will launch his son Utkarsh.

I was living in Mathura and did not know any of them. By the time I was 13, I knew the Bhagvad Gita by heart. My grandfather would ask me to recite stories from the Bhagvad Gita. I think that's when I started becoming a storyteller.

One day, I went with my grandfather to Meerut for a wedding. I saw a theatre with a huge poster outside. I insisted that my grandfather take me inside. I had heard from friends about film theatres, about this huge dark room with live pictures.

After I turned 14, I started visiting my father in Mumbai, and vacationing here. On my first visit to the city, I took a cab from Dadar railway station to Khar (from the central to the western suburb of Mumbai) where my father lived, and saw huge hoardings of Rajesh Khanna. It looked like he owned the city.

I put up a six-hour variety show in my housing complex which had dance, songs and my play. As the show progressed, people from outside also came to watch; at least 4,000 people gathered. We got a lot of appreciation.

Like so many people, when I came to Mumbai, I wanted to be an actor. I thought I looked good and had scope. But I realised that writing and direction was inbuilt in me. I did not have to learn them, it came naturally to me.

I told my father to get me time with B R Chopra as I wanted to narrate a story to him. I was just 18. I met him two days later. I did not have a script ready with me, and wrote Tumhare Liye in those two days. He loved it and told me it could be made into a film.

I still remember a shot in Pati, Patni Aur Woh, where Sanjeev Kumar rings the doorbell after meeting his Woh. His wife opens the door and he enters with a transistor in his hand. There was no comedy in it.

Sanjeev Kumar suggested that he would play a song on the transistor while entering the house. When he entered that way, everyone started laughing. Sanjeev Kumar didn't want his wife to think that he is over cool because he was guilty.

ChopraSaab told me that a good actor goes beyond the script. The writer or director didn't think of this, but the actor (Sanjeev Kumar) thought about it and took the script forward. I learnt about an actor's contribution in cinema.

There were many incidents that happened when I was assisting during the making of The Burning Train. There were already 17, 18 assistants. I got to be the assistant of the chief assistant.

There were 40 actors and in those days, since there weren't any computers, we had to hand write the dialogues for each of them and make 40 copies because there was no photocopy machines either.

I would do the writing till 10 in the night. One day, Ravisaab (B R Chopra's son Ravi Chopra) asked the watchman at the office to get some files. The watchman couldn't understand which files so he told Ravisaab that there is one Anil Sharma still in office.

I took the files and went to BR House. There were some other assistants with him who were my seniors. They started laughing when they saw me and asked me what I was doing in the office so late at night.

I told them I was writing some stuff that Sibalsaab (R K Sibal, chief assistant director) had asked me to do.

The next day Ravisaab called me to his office and asked me if I wanted to become his assistant. I said yes. He said he already had 18 assistants. I requested him to keep me as his 19th one. And that's how I got to be his assistant.

There were always bit roles here and there and Sibalsaab, who was always kind to me, would offer them to me and I would do them. I also did a small role in Insaaf ka Tarazu.

I had a good personality and thought that I could become a hero. But in those days, there were superstars like Amitabh Bachchan and Dharmendra. I would be reduced to a small time hero in front of them, and I didn't want to be behind in any way.

So I thought I would become a director and be among the top five or six directors. I thought I was better at writing and direction than acting.

Meanwhile, my father was producing a film, Aap Ki Pehloo Main with Vinod Mehra. The director was Vinod Babu, who was giving my father a hard time. Vinod Mehra told my father that instead of giving this director a chance why don't you give your son a chance. But nothing happened.

I met Rakhee through a friend. She was surprised to see me. I was just 21, and in those days there were no young directors. She gave me just 10 minutes to narrate the story, but listened for three hours and immediately said yes. She gave me 40 days of her schedule.

Shashi Kapoor is a very nice man; I was a huge fan. I have never been nervous when narrating a story, but I was very nervous when I met him. I went to his house and was fumbling. I thought I should narrate in English, but my English was not that good.

On the first day of the shoot, she was happy with the way I was portraying her in the movie and with her costume. I had her all covered while designing her costume. She got very emotional and said, 'Anil, you are the first director who is covering me.'

Dharmendra had come with Hema Malini, he was sitting in his car and some 500 people, all shooting in RK studio, had left their work and were standing around his car in silence. They were waiting for the God to come out of the car, but he did not.

Then Choprasaab went to the van and the door opened. That was the first time I saw him. He told Choprasaab, 'I have just come back from the Razia Sultan shoot. I am tired, can we start the shoot tomorrow?'

Choprasaab said no problem. After chatting with people for two hours, he started to leave. It then dawned on me that I will not get to meet him before the shoot. Since there were foreign technicians on The Burning Train, a first in Bollywood, there was a call sheet for people to know their reporting time. I was given the job as I was educated.

My first two films, Shradhanjali and Bandhan Kuchchey Dhaagon Ka, were very light films, but I went all out with Hukumat. I made a complete masala film; it was an action packed film. Sadashiv Amrapurkar became huge and his character was loved by all.

Dharamji got up and drove away in his car. I was nervous. I did not know what to do. After two hours, I went to his house. He was chatting with people, but as soon as he saw me, he said, 'I told you the dog will bite,'

When we were shooting in Nainital, we had to reach the sets at 7 am. Dharamji would be out at 5 am and would jog with his bodyguard to the shooting location and play football. He would not sit in his van and eat; he would eat wherever he was shooting.

Rajinikanthsir is a gem of a person; he is very sincere and always on time on the sets. On outdoor shoots, he would sit with his back to whatever was happening on the sets. He would be looking at the sky, at the birds or the valley.

From Maharaja onwards I started working with a writer Shaktimaanji -- before that I wrote all my scripts. The work had increased, so I started working with him, but I was completely involved in my scripts.

When I was writing the script I needed a plot of a Muslim girl from Pakistan and a Hindu boy from Kashmir, for the second half. While I was writing it, Shaktimaan narrated the true story of Butta Singh.

When I heard this story I suggested that we drop scripting Kashmirand do Ramayan instead.

Kargil had just happened and it was the right time for such a film because every Indian would want that the child gets his mother back.

There was no better choice than Sunny Deol. We couldn't imagine anyone else uprooting the hand pump.

We met Sunnysaab who was shooting in Ooty. He had tears in his eyes when he heard the script.

There was pressure from Zee about the budget. They asked me to choose between Amrish Puri and a bigger heroine. I told them I want Amrish Puri and I am ready to take a newcomer as the heroine.

We auditioned some 400 girls, and selected Ameesha Patel. Her face fitted right for one of the dialogues in the movie, 'Main uchakar Chand ko nahin choo sakta.'

She had come down from Boston and there was a slight problem in her language and performance, but she was a very dedicated girl. She attended workshops for six months. I moulded her into Sakina.

Shooting had started and we had to yet select the child. My son Utkarsh was five years old then and everyone from my unit suggested his name. He was just starting school and I didn't want him to miss that. And then my wife would have to be on the sets with him and we also had a two-year-old daughter.

Everyone, including Ameesha, insisted that I take Utkarsh, who was such a cute looking kid.

I asked him if he would like to act. He said no. I sat him down and made him understand that I was not getting a good child and he was a good choice. I asked my wife Suman to teach him a couple of scenes. He enacted them naturally. I would tell him don't act, just feel the scene.

The first scene with Utkarsh was to be shot at Naban Miyan's haveli, which was a two-hour drive from Lucknow. The song Udja kaale kawan plays when Sunny Deol reaches the wedding ceremony in the film in Pakistan.

I was tense, as director as well as father. It was my son's first shot. He was supposed to come and hug Ameesha, but something kept delaying that shot which ultimately happened at 2 am. We had to wake up the poor child, but he quickly gave the shot.

The climax scene with Utkarsh was also memorable. In the final scene Vivek Shauq, Ameesha and Sunny Deol, with the child in his arms, are running on the train.

First, I decided to use a dummy instead of the child, but then decided against it. It was foolish of me to put Sunny at risk -- he would have been safer with a dummy.

But the camera was on the chopper and so the dummy would be noticed. Sunny said he would manage with the child.

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