Suniel
Shetty’s
son
Ahan
Shetty
is
all
set
to
mark
his
debut
in
Bollywood
with
the
remake
of
Telugu
hit
“RX
100”
titled
Tadap,
co-starring
Tara
Sutaria.
It
is
scheduled
to
release
in
theaters
on
3rd
December
2021.
The
film
is
produced
by
Sajid
Nadiadwala
and
helmed
by
Milan
Luthria.
Talking
about
this
official
remake,
the
director
said,
“We
have
changed
the
screenplay
quite
a
bit
but
we
haven’t
touched
the
basic
story
and
characters.”
At
the
same
time,
he
praised
Ahan
Shetty
and
said,
“He
is
very
disciplined,
observant
and
sensitive
actor,
I
think
he
will
go
a
long
way
in
Bollywood.”
Milan
Luthria,
who
made
his
directorial
debut
in
1999
with
the
film
‘Kachche
Dhaage’,
has
given
some
brilliant
films
like
‘Once
Upon
a
Time
in
Mumbai’,
‘The
Dirty
Picture’,
‘Taxi
Number
9211’,
which
have
been
well
received
by
the
audience.
Talking
about
cinema
and
OTT
content,
the
director
said,
“This
is
a
very
good
phase.
Now
it
is
not
necessary
that
you
have
to
cast
a
big
star,
only
then
the
producers
will
give
you
money.
You
can
work
with
any
talented
actor.
Earlier
when
I
started
in
this
industry,
it
was
very
important
that
some
star
should
be
there
in
your
film,
otherwise
the
film
will
not
be
made.”
Ahead
of
the
release
of
the
film
‘Tadap’,
filmmaker
Milan
Luthria
had
an
exclusive
conversation
with
Filmibeat
where
he
talks
candidly
about
Ahan
Shetty’s
debut,
his
love
for
action-thrillers
and
remakes.
Excerpts
from
the
interview.
Q.
How
‘Tadap’
came
together?
How
work
began
on
this
remake?
A.
I
got
a
call
from
Sajid
Nadiadwala’s
office
that
he
wanted
to
meet
me.
Our
friendship
has
been
very
old.
We
meet
often,
especially
at
Salman’s
house.
So
I
went
to
his
office,
where
he
told
that
I
have
signed
this
guy,
but
I
am
not
getting
anything
satisfactory
that
I
can
start
with
him.
Would
you
like
to
plan
something?
I
told
him
that
till
now
I
had
not
thought
that
I
would
do
a
“launch
film”.
But
this
will
be
something
new,
so
let’s
do
it.
Then
I
met
Ahan
and
I
really
liked
his
personality.
There
is
an
innocence
in
him,
an
emotional
strength
and
there
is
a
decency
in
him.
Still,
I
wanted
to
do
his
screen
test,
just
to
see
what
kind
of
film
it
would
be
a
good
fit
for.
I
talked
to
him
too
and
asked
that
what
kind
of
actor
do
you
think
you
want
to
be?
He
said,
“Sir,
I
like
your
films
very
much
because
of
the
sensibility
behind
it,
the
emotions
that
are
there..
I
feel
connected
to
it.
I
want
to
do
the
same
kind
of
role.
I
am
very
happy
that
I
am
getting
a
chance
to
work
with
you
because
I
know
you
will
do
the
something
of
that
kind
with
me.” However,
we
got
many
stories
in
the
meantime,
but
nothing
really
worked.
One
fine
day
our
writer
Rajat
Arora
said
that
you
all
must
see
RX100.
Then
one
day
I,
Sajid
Bhai
and
Ahan
saw
this
film
separately
in
our
respective
homes
and
all
three
loved
the
film
very
much.
We
immediately
finalised
that
we
should
do
this
in
Hindi
and
within
24
hours
Sajid
bhai
bought
the
rights
of
the
film.
Then
we
made
some
changes
in
the
screenplay
keeping
in
mind
the
pan
India
audience
and
started
workshops
with
Ahan.
We
gave
him
two-three
coaches
and
some
action
training.
But
he
was
already
well
trained,
so
we
didn’t
had
to
work
much
on
him.
We
soon
developed
a
good
understanding.
Then
we
cast
Tara
Sutaria.
We
auditioned
her
too.
We
gave
a
scene
from
‘The
Dirty
Picture’
to
both
of
them.
To
be
honest,
I
didn’t
even
feel
for
a
second
that
I
was
auditioning
a
new
artist,
such
a
great
screen
test
they
gave.
I
also
showed
that
to
Sajid
bhai
and
he
was
very
happy,
and
then
we
started
the
film.
Q.
You
said
you
haven’t
thought
of
doing
a
‘launch
film’.
What
are
the
challenges
one
faces
as
a
filmmaker
while
directing
an
actor’s
debut
film?
Also,
Ahan
is
a
star
kid,
so
people’s
expectations
are
high.
A.
I
had
never
kept
the
outside
expectations
in
my
mind
while
making
the
film.
I
just
thought
that
Ahan
has
to
look
like
a
hero,
perform
like
a
hero
and
at
the
same
time
he
should
fulfill
all
the
requirements
of
the
character.
There
are
some
tricks
of
filmmaking,
which
we
have
been
learning
from
each
other.
Like
I
have
worked
with
Ajay
Devgn,
with
Amit
ji
(Amitabh)
or
with
Akshay;
so
some
things
I
learned
from
them,
some
they
learned
from
me.
Those
things
I
have
tried
to
teach
Ahan,
that
how
to
make
your
presence
felt,
about
body
language,
how
much
energy
you
have
to
give
in
emotional
scenes
etc.
Tadap
is
an
intense
film.
Many
a
times
it
happened
that
we
shot
till
4-5
in
the
morning
and
he
used
to
get
very
tired.
So
I
had
to
tell
him
that
go
home,
take
rest…
then
we
will
do
another
scene.
On
the
basis
of
my
experience,
I
guided
him
a
little;
that’s
it.
It
has
its
own
beauty,
if
you
can
share
your
experience
with
someone.
It
was
the
first
time
I
experienced
that
someone
else
was
learning
from
me.
I
really
liked
it.
Ahan
has
also
approached
this
relationship
very
well.
He
is
very
calm,
silent
observer,
does
exactly
as
I
tell
him
to
do,
never
came
to
the
monitor,
never
saw
his
shot,
never
asked
any
absurd
question,
never
came
late
to
shoot.
He
is
very
disciplined
and
very
sensible
boy.
And
the
good
thing
is
that
he
listens
very
carefully.
I
think
actors
who
listen;
always
perform
better
because
a
director
is
closer
to
the
film
than
an
actor.
The
actor
comes
on
the
shoot,
while
the
director
starts
working
on
the
film
a
year
before.
So
the
actor
should
draw
that
experience
from
him
and
Ahan
has
done
that.
I’m
very
proud
of
him.
I
think
he
will
go
a
long
way.
Q.
Did
Suniel
Shetty
ever
visited
the
sets?
A.
He
came
on
the
very
first
day.
He
wished
everyone
the
best
and
he
told
me
that
he
was
very
emotional
that
his
son
is
having
his
first
day
on
the
shoot.
Also,
he
told
that
the
first
restaurant
of
his
family
was
there
at
the
shooting
location
of
the
film.
We
shot
on
the
first
day
at
Central
Plaza
Cinema.
Then
one
more
day
he
and
his
wife
came
on
the
set.
That’s
it,
he
never
visited
again.
Sajid
(Nadiadwala)
bhai
had
also
came
on
the
first
day
itself.
He
told
me
that
you
do
the
film,
when
it
will
get
completed,
we
both
will
sit
and
watch
together.
Q.
Some
parts
of
the
film
were
shot
during
COVID.
How
challenging
was
that
period?
A.
Fortunately,
the
big
schedule
we
had
was
finished
pre-Covid.
After
that
the
film
got
stuck
for
6-8
months,
then
we
had
to
go
back
to
Mussoorie
again
for
the
second
schedule.
That
time
was
very
challenging.
At
that
time
we
were
shooting
a
song
and
150-200
people
were
involved
in
that
song.
There
were
dancers,
musicians
whom
we
had
called
from
Goa,
some
junior
artists
came
from
Delhi
and
the
entire
crew
had
gone
from
Mumbai.
Don’t
know
how
many
times
the
test
was
done.
We
have
kept
everything
available
on
the
sets.
There
were
doctors,
there
were
a
lot
of
staff
who
did
the
tests.
We
became
friends
with
them
too.
The
makeup
and
costume
department
had
to
wear
PPE
kits
throughout
the
day.
To
be
honest,
it
seemed
a
bit
strange.
The
first
few
days
it
seemed
that
anything
could
happen
because
so
many
people
were
there
together.
But
we
were
very
careful.
No
positive
case
was
reported
during
the
entire
shooting.
Q.
From
Kache
Dhaage
to
Baadshaho,
the
music
of
your
films
has
always
been
well
received.
What
would
you
like
to
say
about
Tadap’s
music?
And
how
much
is
your
participation
in
the
music
of
the
film?
A.
When
we
were
having
our
initial
conversation
about
Tadap’s
music,
I
had
said
that
if
we
are
including
romantic
melodies,
then
Pritam
is
the
best.
Pritam
was
very
busy
at
that
time,
he
was
working
on
some
other
films.
But
we
are
friends,
so
he
agreed
for
Tadap.
Our
planning
was
that
how
can
we
keep
the
music
young
and
with
emotional
connect
at
the
same
time.
We
wanted
a
maturity
in
the
songs.
What
happens
is
that
if
you
only
include
light-hearted
songs
in
the
film,
than
you
don’t
connect
emotionally
with
it.
You
will
dance
on
it,
play
it
in
the
party,
but
there
will
be
a
lack
of
emotional
connect.
Pritam
had
told
me
on
the
very
first
day
that
don’t
rush,
I
will
give
you
25
to
30
songs,
out
of
which
you
can
choose
four
songs,
I
know
your
taste
is
very
good.
And
he
literally
gave
me
over
30
songs.
Irshad
bhai
has
written
very
good
lyrics.
We
wanted
to
bring
back
the
era
of
romantic
melodies.
The
film
has
four
songs
and
all
are
romantic.
Q.
How
easy
or
difficult
is
it
to
remake
a
film?
That
too
when
the
original
film
is
of
some
other
language.
A.
First
of
all,
it
is
very
important
to
understand
that
with
what
thinking
the
original
film
has
been
made.
What
was
the
motive?
The
motive
behind
the
story
you
are
adapting
has
to
be
fully
understood,
otherwise
you
will
not
be
able
to
present
it
in
your
own
way.
So
we
tried
to
understand
the
nuances
of
‘RX
100’.
Then
we
wrote
our
screenplay;
made
a
few
changes
but
we
have
not
touched
the
basic
story
and
characters.
Since
now
the
cast
of
the
film
is
different,
the
director
is
different,
the
music
is
new,
shot
on
a
slightly
lavish
scale…
so
the
way
of
telling
the
story
is
also
different.
Q.
Talking
about
writing,
you
and
Rajat
Arora
have
had
a
long
association.
What
do
you
want
to
say
about
this
partnership?
A.
It’s
all
about
coordination
and
understanding.
Like
I
have
with
Ajay
Devgn
too.
We
did
4
films
together.
There
is
a
connection
with
Rajat,
we
understand
each
other.
I
know
his
weaknesses,
his
strengths;
he
knows
mine.
And
we
kind
of
like
same
things.
There
has
been
a
partnership
of
many
writers
and
directors
who
like
to
work
together
again
and
again
because
they
are
on
the
same
page.
Q.
Most
of
your
films
have
been
in
the
action-thriller
genre.
Have
you
always
wanted
to
explore
this
genre?
A.
I
like
intensity.
I
like
action,
thrill
and
pace.
I
don’t
like
slow
movies
or
typical
family
dramas.
I
want
intensity
and
drama
in
stories,
action
is
just
an
attitude
which
tells
audience
that
there
is
a
fire
inside
you,
there
is
passion.
Action
means
the
same
fight
scenes,
blasts,
bullets..
but
what
is
important
is
how
you
incorporate
it
into
your
story
and
how
the
attitude
is
reaching
the
audience.
Q.
How
do
you
see
the
future
of
OTT
and
theatre
as
a
filmmaker?
A.
I
think
both
the
medium
are
doing
good
on
their
own.
A
lot
of
new
talent
has
emerged
from
OTT,
who
might
not
have
got
a
chance
from
films.
Writers,
directors,
actors,
technicians..
all
are
getting
a
chance
to
showcase
their
work.
This
is
a
very
good
period.
Now
it
is
not
necessary
that
you
have
to
bring
a
big
star
only
then
the
producer
will
give
you
money.
You
can
work
with
any
talented
actor.
When
I
started
work,
it
was
very
important
that
some
star
should
be
in
your
film,
otherwise
the
film
will
not
even
be
made.
Now
the
production
value
has
changed.
I
think
these
two
industries
will
support
each
other.
We
will
learn
from
each
other.
Q.
You
have
worked
with
stars
like
Ajay
Devgn,
Amitabh
Bachchan,
Akshay
Kumar,
and
now
on
the
other
hand,
you
are
bringing
in
a
new
artist.
How
different
is
this
experience?
A.
When
a
big
star
comes
the
director
completely
goes
on
the
toes,
as
the
stardom
of
the
actor
can
be
felt
on
the
sets.
At
the
same
time,
even
when
there
is
a
new
actor,
the
director
goes
on
the
toes
because
he
knows
that
if
any
mistake
will
happen,
it
will
be
the
director’s
fault,
not
that
of
the
actor.
The
actor
is
new,
people
will
give
him
another
chance.
So
this
is
a
big
responsibility.
The
second
thing
is
that
the
new
artist
stays
a
little
away
from
you.
There
is
a
sense
of
respect,
there
is
an
admiration.
I
told
Ahan
many
times
that
don’t
treat
me
like
a
senior,
let’s
eat
together,
hang
out
together.
I
wanted
to
bring
him
to
the
same
level.
But
that
senior-junior
thing
always
remains.
At
the
same
time,
while
working
with
Ajay,
Akshay,
John,
we
gossip
a
lot,
we
have
fun.
It’s
a
complete
different
atmosphere.
Q.
Many
directors
are
making
sequels
or
remakes
of
their
films.
Do
you
have
any
plans?
A.
Just
a
few
days
back
I
met
someone,
and
we
were
discussing
that
why
not
make
a
sequel
of
Taxi
No
9211.
I
may
plan
something
about
this.
Even
I
have
an
idea
in
my
mind,
but
a
remake
or
a
sequel
is
not
my
priority
at
the
moment.
I
want
to
make
a
film
on
fresh
story.
But
if
I
come
across
a
good
story,
then
we
will
definitely
do
a
sequel.
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