In the Raw: Wim Vandekeybus’ dance fusion performance in Hong Kong

The nudity may be toned down for Asian audiences but the confrontational extremes of choreographer Wim Vandekeybus’ dance fusion performance could still make you Blush, writes P.Ramakrishnan.

THE POSTERS PROMOTING Blush, scattered around MTR stations and advertised on billboards are unabashedly deceptive of what one can expect from Wim Vandekeybus’ dance troupe. A portrait of a nude couple, entwined underwater and aglow like paintings from an erstwhile era says little of the show. There isn’t a hint of the fusion of theatrical extremes that the director/choreographer/dancer/photographer’s presenting. Vandekeybus’ production, Blush, seems like a reflection of his copious CV, it’s a dance poetry-film dramatisation that’s a hybrid of his interest and passions.

“For me, it’s very natural to mix and match all these different art forms," he says. “It’s more artificial to show just a dance, just a film, just one thing. That’s too rehearsed, contrived and set in its form. If you can do all this and inhabit one body, then it is the same in a show where you can see poetry being read, a drama, a dance, a film all together. They are all different ways of expressing and of expressions.”

Trying to describe the show and the osmosis of various art forms is difficult. A woman takes centre-stage and in a passion-filled voice almost sings out verses in French while actors and dancers crop up behind her, unexpectedly jack-knifing mid-air, yelping out noises like bullets in the wind. The woman seems not to notice the movements behind her, not even when a man, with a live frog, appears and holds up the amphibian by its leg over her face. Then the mood and scene change.

“On stage I’m exploring the beauty and the ugliness of people, their actions, especially between men and women,” the choreographer says. “But what I find beautiful, you might not. There’s something very attractive or perhaps intriguing about something that’s particularly ugly. There’s also ugliness in something of extreme beauty.”

Vanekeybus created his company Ultima Vez (Brussels) after working with the legendary Ian Fabre. His first production, What the Body Does Not Remember, picked up a slew of awards (including the New York Bessie Award, given to a work of dance and performance every year in the US) and he’s not looked back since. After picking up another Bessie Award in 1990, he collected the Prague D’or, for co-directing Roseland (1991), a video compilation of his choreographic works, set in a dilapidated Brussels cinema. More films, documentaries and videos followed, always under the umbrella of dance and performance art. Not only has he choreographed and directed Blush, the 15th creation with Ultima Vez, he’s also part of the 10-man dance troupe on stage.

His previous production, In Spite of Wishing and Wanting, had an all-male cast exploring the dreams and desires of men through interpretive dance. The follow-up, Scratching The Inner Fields, was performed by women only. “I don’t think you can explore the ambiguous relationship between men and women without having them together. Here, there are dancers and actors performing together from Russia, France, Vietnam and other places and trained dancers with actors who are not used to expressing themselves in such a physical way. It’s created an interesting energy.”

Indeed, a restless energy permeates the antics on stage. There’s never a dull moment as at any given time a group of actors or dancers inhabit separate sections of the stage. If one is in frantic motion with music, the other is silent and slow. At other parts, there’s a barrage of activity from all points of the stage. Some dancers dive into the large white screens that wall the stage and suddenly appear in the film that immediately begins where their stage performance seemingly ends. “The act doesn’t end, it continues in motion in the screen. I see myself as a story-teller who in as many ways as possible tries to lift the narrative, to showcase the changes of the personalities of people performing. I want to bring that to the stage. I’ve always wanted to incorporate my interest in cinema and photography on the stage in a different manner. It’s a mixture and melee of a lot of movies.”

If the languid movements at the ballet-tic dancers are graceful when live on stage. it’s almost liquid on screen. Shot underwater, with dolphins and frogs making cameos across the celluloid, the choreographed piece is extraordinary, visceral in vision and form. “The bodies underwater show a wonderful dichotomy of being completely free and liberating but then it’s also claustrophobic. You’re trapped in the water. The beauty you see is a mixture of paradise and the netherworld. Pleasure and pain. To have such freedom of movement and life underwater is paradise for some, while others can see it as underwater hell.”

As with any art form, particularly in an interpretative dance drama such as this, how the audience feels and understands what it sees is subjective. The press in Europe has dished out mixed reviews about his work, calling it a “spectacle” and nothing more, while others appreciated “the remarkable truth of [Vandekeybus’] piece is caught in the gaps between words, in the rich and finely tuned mix of movement, music and silence”.

The director is wide open to reactions, be they good or bad. “Blush is supposed to provoke you,” he says. “There is so much happening in the two-hour show that you don’t have time to react during it, but afterwards. As this is the premier in Asia, in Hong Kong, I’m really interested in looking at the audience, their reaction, what they have to say and come back to me with. Since it was first staged in Belgium a year ago, Blush has been performed 50 times across Europe and with every place, it’s a different reaction.”

Flitting about stage there is one dancer who appears as God intended. “In Europe, nudity is not a big deal. My intention certainly is not to shock with the nudity because my audience no longer gets shocked by it. In Asia, I am sensitive to the audience and what is considered a norm there, so I think I will change part of the performance. The nudity is not integral to the production. It’s not for shock value so I might change it. There have been slight variations to performances made as its staged in different countries, nothing is set in stone.”


Blush, Kwai Tsing Theatre.
A post-performance Meet the Artist session with the director and choreographer will be held after the show.

Seize the Moment for Music and Mischief: Scottish Country Dancing in Hong Kong,

With a nod to Burns night on Saturday, P.Ramakrishnan kicks up his heels and learns a thing or two about Scottish dancing.


AT FIRST GLANCE, the four row of eight couples poised to begin the beginner’s class of Scottish country dancing at the Hong Kong Cricket Club reminds me of a dance session at Ernakulam, in Southern India.

Nearly two decades ago, I saw a dancer begin a recital with her amateur troupe for Bharatnatyam, one of the oldest forms of classical south Indian dance. In similar rows, boys and girls stood in rigid anticipation as their guru rhythmically tapped a wooden stick on a circular, wooden pan. Every pupil’s blunder was met with a harsh, khol-laden glare and major flaw was met with the stick, the trainer would fold the tail of her sair into her waist, march to the offender and give the aberrant limb a bone-crunching whack.

I snap back to the reality of Wong Nai Chung Gap Road by the accordion music, guffaws and spontaneous claps of the eclectic group of enthusiasts in an eight-step dance programme. The “Kingston Flyer”, the “Chase”, the “Wheelie” and other arcane terms rang around the room and with relative ease, the novices fell into place as instructed.

Without the obvious sophistication of the waltz, the hint of eroticism of the tango or the near impossibility of the Irish river dance, Scottish country dancing doesn’t attract much press or praise. Picture lads in kilts and jackets, their feet strapped with ghillies, as legs move to and fro with their partners, women dressed in white dresses with tartan sashes. They create kindergarten-esque little bridges, which hand-held couples duck in and out of, and alternative versions of the merry-go0round are played out. A series of coordinated steps look undemanding, but miss a beat and the whole collective body-in-motion goes out of sync. As with any performing art, it’s never as easy as it looks.

With a nod to Burns Night on Saturday, which commemorates Scotland’s finest poet, Robert Burns, and in celebration of all things Scottish, I jump in at the deep end of the discipline with my effervescent fellow neophytes. After a two-hour session, I am told I have the “right flair” for it and am asked if I’ve done it before. Brushing aside all merit and flattery, I meet the instructors after class.

Jean Young, champion of this art in Hong Kong, never loses her smile or temper throughout her sessions. Her feet clad in flat, dancing pumps – similar to ballet shoes but with a full sole – she displays unflagging grace. Sneakers squeak on the hardwood floor, sock or stocking-clad feet repeatedly slip, and late-starters encounter misdirected bodies, but nothing can spoil the air of mischief, music and movement.

“it was introduced in Hong Kong about 50 years ago, when Scottish dancing lessons were held at the old union Church – mainly to keep the soldiers out of trouble,” says co-instructor Annette Stabb. “To provide good, wholesome entertainment and to meet people, that was the goal. It was always held on Monday night and its’ just been that way ever since.”

The dancing may be Scottish in origin, but I has spread to the unlikeliest of places. There are lessons available in Grenoble, in south-eastern France, in San Francisco, Germany’s University of Dortmund, Jakarta and Singapore. “it isn’t as simple as some of the folk dances that come out of the United Kingdom and I think that’s the main attract,” says Young. “There’s more to do, a pattern to follow. And, of course, anyone can do it at any age. An eight-year-old can partner an 80-year – it’s something for everyone.”

Scottish country dancing is not to be confused with Highland dancing, a more complicated affair seen iat fairs and festivals. “The original Highland dancing is strictly a competition sport now, mostly for young girls,” Young Says. “There are no qualified instructors in Hong Kong and there are some here who know bits and pieces, but not enough to teach complete lessons. Scottish country dancing is a more social affair performed at weddings, parties and get-togethers.”

For most students, these lessons don’t culminate in public performances or on stage but the exceptional few are invited to join the advanced class, where people do dance on occasions.

“We were asked to perform at the launch of a new whiskey in Hong Kong and at school fairs. The Racial Harmony Fair and folk festivals have welcomed us,” says Young. “Oh and there was that one performance at Seibu. It was a strange experience to be country dancing in the middle of a supermarket but if asked, I’m sure we’d go just about anywhere.”

The Hong Kong Highlanders Reel Club holds courses in Scottish country dancing at the Hong Kong Cricket club, 137 Wong Nai Chung Gap Road, Happy Valley.

Forever Young: Menswear shoot for Sentinel Magazine: Trends Report

Jacket by CK Calvin Klein.
Sweater and pen by Dunhill. Trousers
by Gianfranco Ferre.
Wallet by Loewe

Top by Gianfranco Ferre.
Belt by Ermenegildo Zegna.
Trousers by Emporio Armani.
Satchel bag by Dunhill.
Watch by Gucci.

Shirt by Pringle of Scotland.
Necklaces by Rock Candy.

Jacket and shirt both by Dunhill.
Tie and trousers both by Gianfranco Ferre.
Bag by Loewe.

Shirt and pen both by Dunhill.
Bag by CK Calvin Klein.
Sunglasses by Ermenegildo Zegna.

Sweater and diary both by Loewe.
Jacket by Versace.
Watch by Gucci.

Photography: Jonas Lille
Styling: Jolene Lin
Makeup: Karen Yiu and team. 
Hair: Mike
Model: Nickey K
Producer: P.Ramakrishnan for Sentinel magazine. 

Return of the rhythm method: Exclusive interview with Maestro Zakir Hussain

By P.Ramakrishnan


Indian tabla virtuoso Zakir Hussain is looking forward to his return to Hong Kong on Saturday. In 2002 he joined George Brooks' Summit in the New Vision Arts Festival's The King Drummers shows in the city; it was a memorable gig, he says.


'The performance had multiple elements of art all fusing. I had never done anything like that before and haven't since,' he says.

'It was great fun - all the elements of art on a stage: Indian music, the symphony, a few painters who were painting around us while we were performing, with a jazz group and images of jazz legends in the background. It was all happening at the same time and it was truly eclectic.'

Hussain says he is used to such collaborations, having worked with the likes of George Harrison, Joe Henderson, Tito Puente, Van Morrison and the Kodo drummers. Such performances expand his global audiences beyond fans of Indian classical music, the Mumbai-born musician says.

'You know it's funny, when Bollywood movie stars tour, the audience is mostly full of non-resident-Indians awaiting their screen idols and beauties,' Hussain says with a chuckle.

'When we tour in the US, it's a greater mix of western [often more than eastern] audiences. The last time that we performed in New York it was an ocean of westerners and I was looking for the homeland heads through the blinding stage lights. I'm glad that our music is equally well-received by the international crowd,' he says.
Hussain has the pump of percussion in his blood. The son of tabla master Allah Rakha, he grew up in a house filled with music by his father's troupe. From an early age he made his own music by beating pots and still likes to rattle a metal plate, two glasses and a spoon in a spontaneous jig, he says.

'As I heard music all day at home, I believe music can be made with anything, any time, anywhere!' Hussain says.

He started playing the tabla 'as soon as he could reach one', performed his first concert at seven and started touring when he was 12. He says he was 'nearly 13' when he stood in for a musician who was ill and played with his father for the first time on stage.

'You never forget your first performance,' Hussain says of his 'first great moment' under a spotlight. 'I love the improvisational aspect of performing live on stage.'
But not all his early performances went so well.

'When I was 16, I went to play a festival and I was booed off stage!' Hussain says. 'It was strange - the night before was an incredible success. I was the darling of the press, a teen with a following and I could do no wrong. Oh my God, it was thrilling ... and then you get a kick in the butt like that!'

Hussain laughs at the memory but says such setbacks are important life lessons.
'You have to push yourself,' he says. 'It's great to be booed off. It brings you down to earth. Then you start thinking of expanding your repertoire, you have that pressure to improve, to be better than before.'

The boos also remind the children of celebrities that they have to make their own mark, he says.

'There's only so much mercy clapping you'll get [from] an audience,' he says. 'The audience is kind, but patronising only to a certain extent - you'd better be good at the job or they won't care who your father, mother, brother or grandfather is!'
Hussain recalls how he used to sit around discussing music with his father at 3am.

'My dad would have these epiphanies at some late hour and he'd sit with me and go over music,' he says. 'It used to drive my mother up the wall as I'd have school the next day, but late into the night, into the very early morning, we'd discuss raagas, thumri and different beats.'

And Hussain is still exploring different sounds. 'You have to listen to folk music to become aware of what the people are about,' he says. 'You understand that culture a bit better, how they communicate. I listen to folk music of the world, the blues, bluegrass, church music ... Even to understand true Indian music, I prefer to put my ear to the sounds that are closer to the land.'

Hussain doesn't say what's on his iPod, but he seems to sense the rhythm of the global financial meltdown. 'Lately I've been hearing the rumblings and crashes of the stock market,' he says. 'I'm sure the repercussions have hit Hong Kong long before our percussion show.'





Zakir Hussain, Masters Of Percussion,
Sat, 7.30pm, Queen Elizabeth Stadium,
HK$200-HK$600. 

Inquiries: 6019 0621 or 9641 8214

Published in South China Morning Post
Sunday October 26 2008

Night & De: Indian author, Prolific Writer Shobhaa De in Hong Kong

She juggles home, husband and six children, three weekly columns and a weekly talk show on TV, churns out a bestseller each year and is more often than not hopscotching around the globe promoting, speaking and... shopping! She's a woman undeniably in control. An exclusive conversation with P.Ramakrishnan and Shobhaa De, superwoman... in a nine-yard sari!

All images courtesy of Ayesha Broacha.

Read the entire feature in the latest issue of Kee magazine. 

Fashion four let clothes do the talking: Interview with Hong Kong's Famous Four Designers

As Hong Kong fashion week struts down the catwalk in style and stilettos, members of the Hong Kong Fashion Designers' Association (HKFDA) will present a preview of their latest collection to a select number of international buyers.

Between harried preparations for shows and clients, a fashionable foursome took the time to discuss their past collections and imminent ones.

LuLu Cheung: Many 20-somethings pay respect to this demure lady, whose affordable and wearable clothes (under the label "21 Lu") fly off shelves from seven boutiques.

Her clothes this season appear to reflect the designer herself - simple, elegant, youthful and fresh. Ms Cheung has been in the business for nearly two decades, but her work this season goes off in a tangent from her earlier nature- and floral-inspired designs.

This season, Ms Cheung turns to space for her inspiration and reflection.

"This collection will be really modern and the colours will be basics such as white, grey and black. My inspiration is from space and the sky. Clouds, rain, circular patterns, clean cuts, crystal."

Keeping with the theme of simplicity, the designer believes that cotton will never go out of fashion.

"It is pragmatic for the Asian climate, comfortable and easy to wash and wear - with slight delineations to cotton organza and various textures . . . the cloth will have a soft silhouette," she says.

"I've chosen lighter clothes for the spring season. Cotton silk for jackets and cotton mixed with wool for the spring line."

While previous collections were loaded with colourful print work and odes to vintage designs that mingled with modern-day cuts, the coming show will display a more structured and romantic look. Hence the theme has been labelled "Everlasting Melody".

Ika: Slapping a "Made in Hong Kong" title on Ika's clothes would ignore the essence of this pan-Asian designer. Hop-scotching around the region, Ika's inspiration from different lands and people have inspired her signature look, blazed with ethnic patterns and designs. But her latest collection deliberately moves away from this tradition.

"This collection does not present the ethnic touch. Instead it has the younger, feminine approach, play and treatment of fabrics," says Ika. "It is not an ethnic collection. My approach is more in handwork, embroideries, crochets, knits and so on, combined with lace."

Multiple hues and traffic-stopping colours are out as she opts for a soft palette with a splash of vivid colour to create a tasteful counterpoint to the norm. Look out for sea-greens to blue nuance, beige with a dash of earthy red or beige with smatterings of turquoise.

What remains constant are the accessories made from shells, stones, mini-bamboos for belts, sandals and bags, coconut chips engraved into the sandals. She still embraces the tropical and natural feel.

Quality is key and Ika is aware of her fastidious European markets. "I have used best-quality linen from China, synthetics from Taiwan and Korea, lace and pleats from Italy and France. The fabrics used are natural voiles of cotton and linen," she says.

Having recently rounded up the Bali fashion week, Ika is spreading herself thin, working much like a couturier sans frontier . When asked about local designers, she says: "I like Kevin Yeung for being a master of cuttings and pattern. Walter Ma for his creativity and popular appeal and Cecilia Yau for her clever European bitch taste, a mix of femininity and bitchy elegance."

Dorian Ho: When his creations are not being displayed by willowy models in Australia or during the 7th on Sixth fashion show in New York's Bryant Park, Mr Ho calls Hong Kong home.

Many are familiar with "Doriano", the self-proclaiming label sprinkled across 50 outlets in Hong Kong. Floral prints on loose-fitted tops over shimmering satin skirts are just part of his label's legacy and the designer has never been shy of using seemingly contrasting colours. Somehow, the melange works and works well enough to inspire his global market.

Changing tacks this season, Mr Ho steps back in time and ends up in the earlier part of the last century.

"I have been inspired by the 20s' and 30s' look and I am reminiscing the past. This work will be a portrait of, and a portrait to, My Fair Lady and range from casual to relaxed cocktail dresses, glamorous evening wear."

A Victorian elegance will feature in this season's silk, lace, fabrics that dominate Mr Ho's look. Last season was all about summer fun, the cruise line and a Tropicana atmosphere, diametrically opposite to Mr Ho's direction now.

Keeping his eye on the present craze and on vintage vogue, Mr Ho predicts that soft tones, ivory, champagne, beige, pinks, classic burgundy, brown, black will make impressions in the coming season.

"European styles are coming back. Floral prints, many patterns. The accessories I have used will also have an antique and vintage look."

French lace, silk chiffon, silk satin, tulle netting will be featured on catwalks as Dorian's range of cocktail evening wear will project feminine sensuality, the theme of the collection.

Grace Choi: It is the proverbial chicken and egg question: does Ms Choi garner inspiration from Hong Kong's youth or does the youth culture dote on her tailoring? Tough call, but it is easy to see the mass appeal of her work. The youth-identification does not hurt and her simple yet creative garments ride the trend waves well.

Presenting her early spring collection, Ms Choi aims directly at "high fashion for discerning young ladies".

She says: "The applied and the intricate embroidery, small patchwork and appliques will have a casual and hand-crafted feel. The silhouette will not be complicated."

Ms Choi says she has used a mixture of hand-knit and fabric together to create the garment. Some raw-edged and layered styling will also be featured for a more natural feeling.

"I think customers now are much more excited with very delicate artwork so I have used floral patterns and some geometrical patterns. They are a discerning market, aware of what is out there. Natural colours such as cream, reddish brown tones mixed with denim blue. It is easy to match colour and it is suitable for the dressed-down trend."

There will not be flashy accessories to corrupt the look; the only fashion appendages her models will have are stockings and simple sandals.

"I want to reflect the mood in Hong Kong at the moment - many are unemployed and unhappy, so the colours will be natural, not too cheerful and bright. On the other hand, I believe Hong Kong people are strong and I am sure we can face the problems and get our confidence back."


Published in South China Morning Post, 09.07.2002

Byline: P.Ramakrishnan. All images Courtesy: Dorian Ho collection.

The Master's Apprentice: Hrithik Roshan: Bollywood Superstar in Hong Kong: BTS of film

Bollywood superstar Hrithik Roshan has been in Hong Kong to study under one of the world’s most sought after action choreographers. P.Ramakrishnan tracked them down during a break in training. All images by Oliver Tsang.



It’s been the city’s best-kept secret. Even among the 300,000 Indians living and working in Hong Kong, only about 20 knew that one of the subcontinent’s biggest film stars, Hrithik Roshan, has been living in Kowloon.

Maybe the secrecy has been a good thing. Back home in Mumbai, Roshan is never far from his four gun-totting security guards, as hoards of screaming fans shadow his very move.

But in Hong Kong, it’s been a different story. Making his way into the gym along Peking Road in Tsim Tsa Tsui last week, the 31-year-old barely raised an eyebrow.

The first thing that catches Roshan’s eye as he survey’s the cityscape is a poster for the Stephen Chow Sing-chi blockbuster Kung Fu Hustle. And behind the poster lies the reasons for his trip to our shores. He says he recently got a chance to see the film – but he didn’t just watch it, he studied it. “The action scenes were mind blowing,” he says.

Roshan is in town to work under the expert eye of Tony Ching Siu-tung, the action choreographer on the Oscar-nominated House of Flying Daggers and the box-office smash Hero. Ching is preparing Roshan for the sequel to last year’s Bollywood hit Koi Mil Gaya (I Found Someone). For four to six hours a day, Ching has been unveiling the mysteries of wushu to Roshan at the Pacific Club gymnasium.

“I didn’t make an announcement about coming because I’m here to learn and it’s been nice getting around, making a few friends,” says Roshan. “Everyone here is busy doing their own thing and so am I.”

Seated on a mat during a break in training with his translator/assistant by his side, Ching syas: “When the producer/director Rakesh Roshan [Hrithik’s father] first came to meet me last year with the proposal of working on an Indian film, I agreed immediately.

“I’ve seen a few Indian films and really enjoyed them. They like good action, as do we. So it’s a good mix. Even before we negotiated terms, I wanted to do it, just for the opportunity. I went to India on a location-hunting trip with the crew and I had a great time.”

Roshan Jnr is hesitant to state when shooting begins, but, as it’s his father’s film, he will be actively involved in all aspects of the production.

“I’ve been behind the scenes for many years, even though I always wanted to be an actor, I’ve been assisting my dad for a long time so I know what it takes,” he says. “This is my third trip to Hong Kong over the past 14 months and we were here working with the local film fraternity, and the Hong Kong Tourism Board, to promote Bollywood film production in Hong Kong.”

Unfortunately, though, this is one production which will not be shot here as the filmmakers have decided to split their time between India and Singapore. “The reasons were simple – we were giving more incentives to shoot there, “ says Roshan. “It wasn’t as economically viable to shoot here, and the location there suited the script so it’s been settled in Singapore. But we still wanted to work with talent like Tony, to give the film a Hong Kong flavour, so all the film’s action scenes will be choreographed by him and his crew.”

While Roshan’s foray into film could have been predicted – Rakesh Roshan was an actor in the 1970s/80s, and is one of the most successful producer/directors working today – the amount of success he’s enjoyed has surprised even the most seasoned of Bollywood watchers.

Hrithik Roshan's first film in a leading role was 2000’s Kaho Na Pyar Hai (Say There’s Love), which was the year’s box-office champion and won its star both the best newcomer and best actor honours at the Filmfare Awards – India’s equivalent of the Oscars. Koi Mil Gaya followed in 2003 and history repeated itself; the film was box-office gold and Roshan walked away with the critic’s choice award for best actor. “Now I can afford to wait for good films to come around,” he says. “My next meal doesn’t depend on how many films I have at hand. Choosing the right film for me is a luxury.”

Roshan’s regime is rigorous. He has started from scratch and is spending hours a day under the command of Ching and two of his trainers. “I don’t know what to expect when he first came to lessons, I’ve never worked with an Indian actor,” Ching says. “But he's been dedicated, focused and hard-working.”

Three hours into the session and Roshan is still going full throttle. During one air-swivel exercise, Roshan’s sword clips a trainer’s ear and he smiles apologetically, mildly embarrassed at the goof.

“I’ve had so many injuries,” he says. “Every muscle in my body has been pulled, stretched, hurt. I’ve damaged muscles I didn’t know I had. My wrist,” he says pointing to bandages, “I don’t think I’ve broken it… but it hurts.”

Rehearsals are taped and Roshan rushes to review his progress during his break. Ching has it all on tape for different reasons. “I’ll go back and watch it all again to see what suits him,” he says. “We’ve had limited time, as we do with any film, so I have to work with what we have. He’s been an excellent student and on camera we will focus on what he does well and those are the things I will choreograph into the film when we begin shooting.”

Ching and his team are now busy preparing for a trip to Mumbai for further work on the film. “With CGI, wire-techniques and other effects, it’s like working on an international film – we’ve had no restrictions on what we can do,” he says.

The Oscar-nominated Lagaan (2001), the blockbuster Devdas (2002) and Gurinder Chadha’s crossover Bride and Prejudice (2004) have opened the world’s eyes to the charms of Bollywood And to the possibilities of co-productions. But Roshan says problems remain.

“Calling it a leap of faith would be appropriate,” says Roshan. “With the first film, we used the same special effects team as used in Independence Day. In this film the action is being coordinated here, we're working on getting the sound recorded in Australia and the same American team who worked us earlier is keen to work on this film. The aim for any good production unit is to make the film better than the last and my father is taking a huge risk, but we’re all hoping it’ll be worth it in the end.”

Published in South China Morning Post, Tuesday, February 15, 2005

Feature on Hrithik Roshan from 2021 here.

Behind the Scenes:

- Got more calls from Indian girls about meeting this dude than anyone else. Ever.
- Hrithik is alarmingly nice, helpful and all that's good that's said about him rings true. He's too humble... to the point that I don't believe it's real. But I'm jaded!
- The funniest bit in the interview was when we were trying to get the names of the assistants; the guys came and told Hrithik their full names in Chinese and Hrithik just blanked. He later whispered, "Can we just call them Joe?!"
- He blushed every-time he goofed during rehearsals. He was so embarrassed for himself and he had an archaic 'aww shucks' attitude. He worked non-stop, smacked himself on the head too! All on tape!
- He wanted to see the pics Oliver took and wanted a copy. At one point, while scrolling back, he said, "Eeeee I look bad!" Oliver said there wasn't a single bad shot.
- The entire Hong Kong crew was amazed how quickly he learned his moves. We got many mid-air shots but those got cropped as we've seen those in print all the time in HK, but not in India.