Friday, October 30, 2009

Priyamani’s denies her B-town hunt

Actress Priyamani cannot stop speaking about her working experience with the ace filmmaker Mani Ratnam. Of course, a big launch in Bollywood is what every south Indian actresses dreams about. As Priyamani has completed her portions for both Hindi and Tamil versions of “Raavana’, there have been buzzes that she has been camping in Mumbai in search of Bollywood offers.

When we approached the actress regarding this buzz, she clearly admits that every actress loves to be a part of Hindi films. But that doesn’t mean that she is desperately seeking Bollywood film offers. Already talks are going on with some of the leading producers and filmmakers in Hindi Film Industry.

The National award winning actress is now busy shooting Kannada remake of Telugu blockbuster “Ready’ with Puneeth Rajkumar. Looks like, she may pair up with Dhanush for the Tamil remake of this film as well.

Suriya And Katrina Kaif Joins Together

Actor Suriya, who is shooting for ‘Singam’, is joining hands with director A R Murugadoss and producer Udhayanidhi Stalin again. Sources say that it will be a trilingual film (Tamil, Hindi and Telugu).

Buzz is that Katrina Kaif has been approached for the role. Suriya had favoured Harris Jayaraj to score music for all the three versions. Suriya, Murugadoss and Harris Jayaraj had teamed up to render a huge hit in ‘Ghajini’.

Suriya will also be acting in a Bollywood film ‘Rakta Charitra’, to be directed by Ram Gopal Varma. In Hari’s ‘Singam’, Suriya plays a straight-forward police officer Durai Singam who fights evil in society.

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A fine-tuned composition from "In the Land of the War Canoes." A staged scene by Robert Flaherty from "Nanook of the North." THE RISE OF DOCUMENTARY FILMMAKING (PART ONE): EXCERPT FROM THE HISTORY OF INDEPENDENT CINEMA

(The following is an excerpt from The History of Independent Cinema by Film Threat's contributing editor Phil Hall, published by BearManor Media.)

The first motion pictures were documentaries – or, by the very least, documents of everyday life in the late 1890s. In France, the Lumiere Brothers captured scenes of steam-driven trains and well-dressed boulevard pedestrians. In America, Thomas Edison brought the celebrities of the day into his New Jersey studio – Annie Oakley displayed her sharp-shooting, Eugen Sandow displayed his muscles, and so forth. These little films rarely lasted longer than a minute or two, since the early cameras were unable to accommodate large magazines of film.

But as the film technology advanced, audiences quickly became bored of watching brief scenes of their society. After all, what was the point of paying to see a movie (in this case, one without sound or color) when you could go outside and see the same thing for free (with sound and color)? Thus, the concept of writing a screenplay and directing actors for the camera took root and movies turned into an entertainment medium.

However, the early filmmakers never entirely abandoned non-fiction films. Cameras began going far afield to capture the more unusual and dramatic aspects of real life. Cameramen began showing up at newsworthy events, documenting the presence of various dignitaries and celebrities as they engaged in speeches, meet-and-greets and other photo opportunities. Theodore Roosevelt, who became president in 1901, was a ubiquitous figure for the newsreels (as this genre became known). Even without a sound recording or color film, Roosevelt’s animated body language and larger-than-life enthusiasm for pontificating made him a natural for the camera.

From its beginnings, however, non-fiction film was being used to show a distinctive agenda – reality could easily be manipulated and audiences would not be the wiser.

The first known manipulation of the genre came in 1903, when Thomas Edison used the planned euthanasia of Topsy, a violence-prone circus elephant, as a means to promote the DC electric current. Edison schemed with the owners of the elephant to have the animal electrocuted with AC current electricity, which was being promoted by Edison’s rival Nicola Tesla. The thought behind this notion was fairly devious: by showing how dangerous AC current electricity was, it would scare people into using the perceived safety of DC current (and, in the process, scare profits to Edison and away from Tesla).

The fact that Topsy was a severely abused elephant who only lashed out at brutish trainers (including one who tried to force her to consume a burning cigarette) was never mentioned in the Edison’s brief film, which was released under the title “Electrocuting an Elephant.” Instead, Topsy is shown being led to an area in an open field where her legs are imprisoned in chains and wires. Her human handlers quickly disperse, and within seconds smoke begins to rise from the ground. Topsy collapses into a dead faint amidst a rising cloud of electrified smoke.

Whether “Electrocuting an Elephant” was specifically responsible for the later decline of Tesla’s fortunes is open to debate (it clearly didn’t help). But what Edison achieved, perhaps accidentally, was the blurring of real life with reel life. The audiences in 1903 had no clue about the circumstances behind the production of “Electrocuting an Elephant.” They assumed they were watching a newsreel – it wasn’t until many years later that the truth of the film’s production emerged. However, the concept of a manipulated non-fiction film became locked into the filmmaking bag of tricks.

In a way, this was actually not a bad thing. Documentary filmmaking would not have emerged beyond newsreel glimpses of history makers and travelogue shots of scenic locations had filmmakers not attempted to slice and dice reality to fit their particular vision. Two filmmakers, both working (somewhat ironically) among the indigenous peoples of North America, laid the foundation for modern documentary productions – if only by creating their own distinctive concept of what life should be like.

The first filmmaker was Edward S. Curtis, who gained famed in the late 19th and early 20th centuries for his photographic portraits and phonographic recordings of the American Indian tribes in the United States and Canada. In 1914, Curtis set out to create a film focusing on the culture and customs of the Kwakiutl tribe in British Columbia. But Curtis did not attempt to create a filmed record of Kwakiutl life. Instead, he created a somewhat hoary tale of love and revenge in a period before white society intruded on tribal life. Interspersed throughout the film were shots of tribal dances and traditional warrior costumes.

Despite the provocative title “In the Land of the Head Hunters,” Curtis’ film was a fairly tame affair. Perhaps it was a little too tame for 1914 audiences, who had little enthusiasm for the appreciation of American Indian cultures. Curtis spent $20,000 of his own money to make the film, but it was a commercial flop. Ten years later, he sold the negative and master print of his production to New York’s American Museum of Natural History for a mere $1,500.

Curtis has no role of further significance to independent film – or to the film industry as a whole, for that matter. His last connection with the big screen came in 1923 as an uncredited assistant cameraman to Cecil B. DeMille on “The Ten Commandments.” His one motion picture, “In the Land of the Head Hunters,” was forgotten for many years. However, it was rediscovered in 1972, 20 years after Curtis’ death, and was restored and retitled with the less scintillating title “In the Land of the War Canoes.” Today, it is considered a classic of ethnographic film studies.

Eight years after Curtis’ “In the Land of the Head Hunters” premiered, another feature-length portrait of North America’s indigenous people came to the screen. Unlike the Curtis production, this film had a significant impact on both the motion picture industry and the audiences that supported it. The production was “Nanook of the North,” made by a novice filmmaker named Robert Flaherty, and it is often regarded as the first documentary feature ever produced.

“Nanook of the North” is the story on an Inuit hunter in the Canadian Arctic (at the time, the Inuit people were referred to as Eskimos – we’ll use the word “Inuit” to describe this film). Nanook supports his family as a walrus hunter, and he is adept at fishing, building igloos and surviving in the harsh extreme weather of the frozen north. In the course of the film, Flaherty follows Nanook as he uses spears to hunt his prey. In the film’s exciting climax, Nanook and his family work furiously to build an igloo in the face of an approaching storm.

It was all quite compelling to watch back in 1922, when most Americans had little knowledge of Inuit customs and practices. Even today, “Nanook of the North” is an invigorating cinematic experience, particularly the stunning climax in the race against the elements.

There was just one problem: it was all a fake. There was no Nanook – the Inuit subject was actually named Allakariallak. “Nanook” comes from the Inuit mythology meaning “master of the bears.” The woman who was allegedly Mrs. Nanook wasn’t the hunter’s wife – she was a local Inuit woman recruited by Flaherty for the film. Nanook’s use of spears for hunting walrus was a practice that vanished 19th century – the real Inuit hunters used guns, but Flaherty asked them to dust off the old spears for his camera. Nanook’s igloo was also a fake – Flaherty’s camera could not get adequate lighting in a real igloo, so a phony half-igloo was built to provide an understanding of the interior design for that icy residence.

Even the climactic race to build an igloo was phony. Flaherty shot the sequence well within distance of Inuit encampments, so the subjects of his film could’ve easily found shelter from the storm without having to build an igloo.

Of course, no one watching “Nanook of the North” back in 1922 was aware of this chicanery. Indeed, the film’s unusual approach to capturing the daily struggle of a distant culture caught everyone by surprise – particularly the booker at New York’s celebrated Roxy Theatre, which gave the movie its premiere by putting it on a double bill with Harold Lloyd’s popular comedy “Grandma’s Boy.” Flaherty was initially unable to secure a distributor and self-booked his film. Apparently, it was booked at the Roxy by default – no dramatic film was available and it was considered a bad idea to buttress the Lloyd hit on the double bill with another comedy.

For Flaherty, “Nanook of the North” was a personal vindication – he had lived in the Arctic for nearly a decade and twice attempted to create a film about the Inuit people. On both occasions, his footage was destroyed in accidents, requiring that he start work from scratch. For “Nanook of the North,” Flaherty had money – he was financed with a $50,000 budget by the French fur company Revillon Freres – and time on his side – the film was shot from August 1920 through August 1921. But despite these conditions, Flaherty insisted it was necessary to re-enact and re-invent situations to dramatize Inuit life. Apparently, a genuine filmed record of daily Inuit life might be as monotonous as a genuine filmed record of daily Western life.

“Nanook of the North” was a monster hit. Pathe Exchange picked up the worldwide distribution after its New York success and the film was heralded around the world. Sadly, Allakariallak never shared in the film’s glory. Months after the filming was completed, a genuine tragedy struck: Allakariallak was stranded in the Arctic during a hunt and starved to death in his chilly isolation.

However, lightning never truly struck twice with Flaherty. His career lasted another two decades, but his output was spotty and his grasp on the non-fiction genre grew increasingly shakier with each new film. His follow-up to “Nanook of the North” was the Paramount Pictures-commissioned “Moana,” which was shot in Samoa in 1923 and 1924. But the production was riddled with disasters from start to finish. Flaherty arrived in Samoa without a story and took months to find an angle that would appeal to the notion of documenting exotic indigenous people for Western audiences. But the delays in production agitated Paramount Pictures, which kept wiring Flaherty demanding to see footage. Flaherty repeatedly had to explain that missionaries had Westernized the Samoan people to the point that many of the customs that people associated with the island had vanished (a tattoo ceremony featured in the film, for example, had to be reconstructed from historic texts since it had not been performed in many years).

Even more distressing was an experimental color film camera that Flaherty was given for the Samoan location photography – it malfunctioned and none of the footage could be salvaged. However, Flaherty’s use of panchromatic film stock created a deeply beautiful black-and-white experience, as opposed to the flat orthochromatic stock which was standard for the era.

As with “Nanook of the North,” audiences watching “Moana” were unaware that Flaherty was staging scenes for the camera. Even the usually astute Mourdant Hall, film critic for the New York Times, noted: “Not only is Mr. Flaherty to be congratulated on what he has put into this film, but he deserves a great deal of praise for having kept it free from sham.”

Unfortunately for Flaherty, “Moana” was as much of a box office bust as “Nanook of the North” was a success. The film is remembered today only because it inspired writer-turned-filmmaker John Grierson to create the word “documentary” to identify the non-fiction genre.

For Flaherty, “Moana” was the beginning and the end of his Hollywood career. He was signed for two additional South Pacific-based features, MGM’s “White Sails of the South Seas” and the F.W. Murnau production of “Tabu,” which he was supposed to co-direct, but he severed his relations with both films prior to the start of production. Other studio-based projects never materialized, and by the early 1930s Flaherty was unable to secure work in America. He went overseas, where he created the memorable features “Man of Aran” in 1934 and “Elephant Boy” in 1937. “Man of Aran,” although presented as a documentary on Irish fishermen, also included blatantly staged sequences (although it was also beautifully photographed). “Elephant Boy,” co-directed with Zoltan Korda, didn’t pretend to be a documentary. It was a fanciful adaptation of Rudyard Kipling’s “Toomai, of the Elephants” and offered a refreshingly engaging performance by the young Indian actor Sabu.

Flaherty wouldn’t make another U.S. film until 1941, when the Department of Agriculture commissioned him to create the documentary “The Land.” The film highlighted the ecological and economic damage created by the overproduction of cotton in what was known as the Dust Bowl. In many ways, it was the closest film Flaherty ever made to a genuine documentary. But the U.S. entry into World War II doomed the project – by the time “The Land” was ready for release in 1942, it was barely distributed out of fear it would be disruptive to wartime morale.

Flaherty’s final original project, “Louisiana Story” (1948) was offered as a documentary and is still viewed by many film scholars as such, but it was actually an industrial film using nonprofessional actors and a screenplay. It will be discussed at greater depth in the chapter of this book relating to that genre.

Flaherty has been credited as both director or co-director of the 1950 documentary “The Titan: Story of Michelangelo,” which won the Academy Award as Best Documentary. However, this was actually a 1940 film made by German director Curt Oertel. Flaherty re-edited Oertel’s footage and scripted an English-language narration for an American release of the film, but he played no role in its creation and did not deserve directing credit.

Flaherty’s contribution to non-fiction cinema is problematic. Yes, “Nanook of the North” showed that documentary feature films could be accessible to mainstream audiences and commercially viable for producers and distributors. As a pioneer in putting documentaries on equal footing with narrative features, he deserves credit.

Yet Flaherty’s output is spotty and troubling. He made relatively few films, and except for “The Land” he seemed incapable of keeping fiction out of non-fiction filmmaking. Flaherty set a dangerous precedent that still permeates the genre – ignoring real life in favor of a glamorized and exotic reel life. Audiences are still being bamboozled by this artifice.

Let’s backtrack to the 1920s and the aftermath of “Nanook of the North.” Flaherty was not alone in believing there would be an interest in non-fiction filmmaking. In other parts of the world, American filmmakers were lugging their cameras in search of a great story.

The most dramatic of these productions came from the combined talents of the adventurers Merian C. Cooper and Ernest Schoesdack, who were in Ethiopia at the time Flaherty was finishing up work on his film. Cooper and Schoesdack shot footage of the imperial court of Haile Selassie, but the footage was destroyed in a fire before it was developed. Despite that loss, Cooper and Schoesdack set a new direction to Persia (today’s Iran) to document the migration of the nomadic Bakhtiari people. They linked up with journalist and former World War I spy Marguerite Harrison, who financed their expedition on the condition that she share directing credit and appear on camera. The team shot 40,000 feet of footage that was edited into a two-hour film known as “Grass.”

As with Flaherty’s landmark, “Grass” found its audience by accident – in this case, Cooper was screening it on the professional lecture circuit when Paramount chief Jesse L. Lasky made an unexpected offer to distribute the film theatrically. “Grass” opened in New York in February 1925 to critical acclaim and modest commercial success.

But unlike “Nanook of the North,” “Grass” did not recreate entire incidents strictly for the camera. Cooper, Schoesdack and Harrison were part of the 50,000-person Bakhtiari odyssey across the Karun River and up Zard Kuh, the highest peak in the Zagros Mountains. Although the film’s pacing may seem sluggish by contemporary standards, it nonetheless serves as an invaluable record of Middle Eastern culture.

Lasky was buoyed by the commercial reaction to “Grass” to finance Cooper and Schoesdack’s next film (Harrison had no further partnership with the duo). Unfortunately, the follow-up film “Chang” (1927) was not a non-fiction film but rather a Flaherty-style docudrama that mixed aspects of an exotic culture (in this case, the farmers of rural Siam, today’s Thailand) into a patently staged story regarding the threat of tigers and elephants to a farming village.

But unlike “Nanook of the North” or “Moana,” there was no attempt to pretend this was a documentary. The promotional material for the film defined it as “a melodrama with man, the jungle, and wild animals as its cast.”

After “Chang,” Cooper and Schoesdack stayed away from non-fiction filmmaking. Documentary filmmaking’s loss was Hollywood’s gain, as the duo went on to create the 1933 masterpiece “King Kong.”

During the 1920s, Kansas-born adventurers Martin and Osa Johnson were also shooting films in far corners of the globe. The Johnsons were actually ahead of Flaherty in regard to releasing their Pacific-based features “Jungle Adventures” (1921) and “Headhunters of the South Seas” (1922), but the films were viewed as travelogues and not as artistically challenging true-life narratives. In 1923, the Johnsons offered “Trailing Wild African Animals” (1923), a record of their 1921-22 African expedition.

In the 1920s and the 1930s, the Johnsons produced several feature-length films detailing their African trips. By 1930, these silent films were compiled into “Across the World with Mr. and Mrs. Johnson,” which included a narration by Martin Johnson. Genuine sound recording in the Johnson’s films didn’t take place until 1932’s “Congorilla,” which was noteworthy for taking sound technology on location to Africa.

Time has not been kind to the Johnsons’ films, which are barely recalled today. Their self-promoting tendencies, coupled with their badly dated view of African cultures and the continent’s ecosystem, make their films painful to watch. In their time, however, the films enjoyed a mild popularity and their footage was often recycled by low-budget films set in the so-called “dark continent.”

By the 1930s, audiences began to tire of documentaries of distant exotic cultures. Some filmmakers tried to keep the genre alive, most notably the Marquis Henry de la Falaise de la Coudraye, an aristocrat whose Hollywood star wife Constance Bennett provided financial backing for his Borneo-based documentaries “Legong” (1935) and the Vietnamese-based “Kiliou, The Killer” (1937). These films were unusual since they were shot in two-strip Technicolor, but that novelty wore off when the superior three-strip Technicolor process took dominance in the late 1930s (“Kiliou, The Killer” only survives as a black-and-white print). However, due to the difficult of lugging sound recording equipment abroad, both films were shot as silents and released with synchronized musical scores – an anachronism for the mid-1930s.

Separate and apart from this travelogue approach were Margaret Mead and Gregory Bateson, who took an anthropological approach to filming the lives and culture of the Balinese people. Mead and Bateson spent the mid-to-late 1930s working in Bali, but their footage was not seen until the early 1950s when the released a series of six short documentaries, most notably “Karba’s First Years,” “Bathing Babies in Three Cultures” (which included footage shot in New Guinea) and “Trance and Dance in Bali.” These films are primarily known to most moviegoers by reputation, since they are rarely screened today.

But changing tastes and changing times warranted a new outlook. As the Great Depression reshaped America, audiences were less than enchanted with tantalizing glimpses of far-away lands. Problems at home demanded attention, and a new wave of documentary filmmakers fixed their cameras on American socio-economic issues.

Priyamani rubbishes reports of Bollywood fever

Reigning queen Priyamani is truly excited about her role in ace Mani Ratnam's big budget bilingual Raavan/ Ashokavanam, a modern adaptation of the epic Ramayana. This movie marks the Bollywood entry of Priyamani though not as a leading lady. Of course, every South Indian actresses dreams of a big launch in Bollywood.

There were some recent rumours that Priyamani, who has already completed her portions in both Hindi and Tamil versions of Raavan, was camping in Mumbai in search of Bollywood offers. When asked for confirmation, she admitted that it is her dream to act in Hindi films, but rubbished rumours that she is desperately seeking Bollywood offers.

National award-winner Priyamani is playing Surpanakha’s role in Raavan, produced by Mani Ratnam's sister Sharda under Ratnam's banner Madras Talkies. Abhishek Bachchan and Aishwarya Rai are the lead pair in Hindi, while Vikram will play the lead opposite Aishwarya in Tamil. Priyamani is now busy shooting for the Kannada remake of Telugu blockbuster Ready with Puneeth Rajkumar.

Salman Khan tells sponsors to pay double

Bollywood actor Salman Khan knows best when it comes to charitable work; at least amongst the Indian actors. His Being Human Foundation is a big example. But where does all the fund come from? Is he pouring all his hard-earned money into it? Well, he tells sponsors to pay a hefty amount.

Buzz up!
Salman revealed in an interview recently that he was not conscious how stars are being used for charitable causes; interact and entertain the orphans and do photo-opps. But the cruel reality is that nobody cares for the well-being of the children once the stars leave. So, Salman, Sohail and Arbaaz make sure that they contribute a certain amount and then ask the sponsors and organisers how much they would put in.

Salman said that they ask them to contribute the double amount. This way, the sponsors and organisers are left with no other choice but to pay up.

Well, Salman not only knows how to help the under-privileged but also sustain it!

Tuesday, October 27, 2009

Asin’s strict decisions about glamour factors

South Indian actress Asin made it all happen with her overnight success in Bollywood with “Ghajini’. With her “London Dreams’ slated to hit the screens this weekend, the actress has got hold off some troubles that are popping up. Apparently, it’s all about the producers and filmmakers of Hindi film industry urging her to expose to glamorous shows and intimate sequences with her onscreen heroes.

Perhaps, the actress has been stuck to the rigid rules of not entertaining such factors from the moment she made high waves in South Indian Film Industry. According to the sources, Producer Vipul Shah of “London Dreams’ had insisted her to wear skimpy costumes, which perturbed her a lot… But then again, “a rule is a rule’ says Asin, who has been persistently refusing the big offers merely because of such unfavourable scenarios.

-Sampurn Media

Asin's strict decisions about glamour factors

Monday, October 26, 2009

Hrithik in a double trouble

Even though the who’s who of Bollywood descended at Hrithik Roshan’s place for his mother’s Pinky’s birthday, the actor’s neighbours were not impressed.

As the bash went wild with Saif ali Khan, Kareena Kapoor, Katrina Kaif, Karan Johar, Farhan Akhtar, Priyanka Chopra, Sonali Bendre and newly engaged Shilpa and Raj Kundra in attendance, the neighbours complained to police about loud noise.

The Roshan’s were let off with a warning from the police.

South Indian Actress Priyamani Profile

Name: Priyamani
Born: 1984
Birth Place: Palakkad
Debut film: Kangalal Kaithu Sei
Mother Tongue: Tamil
Favourites: Music, Ice creams, Chocolates

Name Priya mani
Nick name Pillu
Profession Actress, Model
Date of Birth 4th June
Height 5'6"
Nationality Indian
Family Father: Vasudeva Mani
Mother: Latha Mani
Brother: Vishak Dev Mani
Education B.A. Psychology
Previous job Model
Languages known English, Hindi and all the south indian languages
Debut Tamil: Bharathiraja's Kangalal kaithu sei.
Telugu:Pellaina Kottalo
Malayalam: Satyam
Introduced Bharathiraja
Debut hero Vaseegaran
Modeled for Kancheepuram silks, Erode silks and Lakshmi silks
Favourites Actors: Kamal Hassan, Mammootty, Mohanlal and Dilip
Actresses: Sridevi, Kajol
Hobby: Music and Dance
Dessert: Ice creams, chocolates
Pets: puppies and kittens
Attire: Jeans
Authors: Dan Brown, Jeffery Archer
Car: Mercedes
Likes Glamour roles
Famous Ancestor:
Her grandmother Kamala Kailas is a celebrated classical singer
Ideal role Like Sridevi's role in 'Moonram pirai'

Sunday, October 25, 2009

Asin Birthday 26 October Today

Asin Thottumkal is bollywood actress of south Indian. She is very popular and beautiful actress. She was born in October985505_f520 26 1985.Asin was born in Cochin, in the Malayalam-speaking Thottumkal family which consists of her businessman dad, Joseph, and mom, Dr. Seline, who practices in Ernakulam. She attended Naval Public School in Cochin, and after obtaining her Matriculation, was enrolled in St. Theresa’s Higher Secondary School. After successfully obtaining her Higher Secondary School Certificate, she enrolled in St. Theresa’s College to continue studying in the Arts Faculty. After obtaining a Degree in B.A. English Literature, she assisted her dad in his business (which includes software, export of furniture and antiques) and also took up modeling on the side. Her modeling assignments included Colgate Toothpaste, and Fairever Cream.

She speaks a wide range of languages such as Malyalam, Tamil, Telugu, Hindi, Sanskrit, English, French, and may well be the only Indian actress with a Blogspot in French. She is very active in various functions throughout Southern India, and credits her good upbringing to her parents, who she considers her role models. She was the winner of an entrepreneurial award as a teenager. She is fond of reading and has a huge collection of books.

Asin, along with her mom and dad, have left their Harrington Road apartment at Chetpet, Chennai, and have re-located to an apartment in Lokhandwala Complex, in Andheri (West), Mumbai, in order to enable her to debut in Bollywood movies.

Shilpa Shetty Engagement Photos

Shilpa Shetty is finally engaged to Raj Kundra. The photos of Shilpa Shetty & Raj Kundra speak for the happy couple. The engagement ceremony took place at Raj’s Juhu apartment in Mumbai on Saturday October 24, 2009. Only family members and close friends were invited.

The photos of a 5-foot-10 tall (among the few tallest Indian actress) Shilpa Shetty and her fiancé Raj Kundra are worth watching as both seem extremely happy to exchange the rings after their long-term dating that reportedly started somewhere in the year 2007.

Though not very successful as an actress but beyond doubts one of the most beautiful Bollywood actresses Shilpa Shetty has been engaged to her long-term boyfriend, a London-based cunning businessman Raj Kundra. The engagement ceremony in the 7th floor apartment has been reported to be a very simple one and the guests list included only the family members and very close friends.

The fabulous dress Shilpa is shown wearing in the recent photos, was especially designed by very renowned celebrity dress designer Manish Malhotra. Presently, the stunningly beautiful 34-year-old Indian actress and model Shilpa, is living in Mumbai alongside her parents. Coincidently, Shilpa’s younger sister is also a rising Bollywood star and she too lives with the family but strangely enough, she was not invited or didn’t attend the engagement ceremony for some reason.

Very recently in March this year, the news surfaced the Internet that (her then boyfriend) Raj Kundra helped her purchase an apartment house in one of the posh areas of England, Saint George’s Hill in Surrey. It reveals as if the soon going-to-be husband and wife plan to live and settle in England in future as the wedding has been scheduled in the month of December in Mumbai though but the reception would be held in London.

Saturday, October 24, 2009

Happy Birthday Mallika Sherawat

Happy Birthday Mallika Sherawat.Bollywood Hot Actress Mallika turns 38 today on account of her Birthday we bring you Exclusive hot wallpapers & biography of Mallika Sherawat.

Many Many Happy Returns Of The Day

You can check out more facts about Mallika in the biography and also download Sherawat’s latest steamy wallpaper in the photo album below:

Mallika Sherawat was born on October 24, 1971 in Karnal Haryana is an Indian actress and model. Known for her public openness, she is frequently featured in Indian media as sex symbol. Sherawat’s birth name is Reema Lamba; she says that she adopted the screen name of “Mallika”, meaning “empress” to avoid confusion with other actresses named Reema. “Sherawat” is her mother’s maiden name.

Mallika’s started her filmy career by onscreen debut in Lak Tunoo, a music video by Surjit Bindrakhia. She attracted wide notice with her appearance in the 2003 movie Khwahish. In 2004, she starred in Murder, a film inspired by Hollywood’s Unfaithful. She received a nomination for Best Actress at the Zee Cine Awards ceremony for her performance in Murder. The film went on to become one of the biggest hits of the year.

Since then, Sherawat has been known for her courage to express her opinions in public, as well as because of the reaction to some of her statements. She also made news when she won a small role in a Jackie Chan movie, The Myth; she made a widely publicized appearance at the Cannes Film Festival to promote The Myth. However, her performance in the 2006 film Pyaar Ke Side Effects co-starring Rahul Bose won her praise from around the industry, and the film also garnered decent collections at the box office becoming a moderate success.

She played a small role in Dasavathaaram after her item number in a Tamil film. Her first 2007 release was Himesh Reshammiya’s Aap Ka Suroor – The Real Love Story, where she played a “vampish role”. Mallika herself has protested, saying that it is a negative role but not a vamp role. With Aap Ka Suroor she has become the most expensive “Item Girl”, as she charged Rs. 1.5 crore for her Item number in the movie. Aap Ka Suroor did well at the box office.

Her last release of 2007 was Welcome which also did well at the box office receiving blockbuster status. Her 2008 releases are Ugly aur Pagli and Mann gaye Mughal e Azam. Although Mallika got praises for her acting, both films were not successful at the box office. She is now doing a Hollywood film named Hisss starring Irrfan Khan directed by Jennifer Lynch.

The film is in Post-production stage. Mallika is now staying in Los Angeles. She is on a working visa recommended by Jackie Chan. She is also famous on twitter with username mallikala. On 14 August, 2009 Mallika received the LA Honorary Citizenship. Sherawat has been voted as one of Asia’s 100 most beautiful people by the Hong Kong based fashion and beauty magazine, Cover.

Actor Nandita Das opens up on life after “Firaaq”, her work as chairperson of Children’s Film Society of India and future plans

In the world of arc lights teeming with acquired personalities, actor, director and activist Nandita Das is fiercely her own person. For someone with a bachelor’s degree in geography, a master’s degree in social work, a teaching stint in a school, and experience of social work, showbiz seems an unlikely destination. Yet, she is one of the best loved faces of Indian cinema, although she never aspired to stardom. She has done more regional than mainstream cinema because she feels “there is more sanity and integrity” there. She continues to live in Delhi instead of India’s film capital because “Delhi allows you space and I don’t feel the need to go to any other city”. She travels to be on the prestigious Cannes jury with just two suitcases because “thinking of what to wear was secondary to the experience of being there”. While her oeuvre of work as an actor includes over 30 critically acclaimed feature films in 10 different languages, her directorial debut in “Firaaq”, set in the 2002 Gujarat pogrom, was no less stunning. She was recently appointed the chairperson of the Children’s Film Society of India (CFSI). Excerpts from an interview:

Your appointment with CFSI is a tad surprising, considering your moorings in serious cinema.

I was surprised myself. I had just taken a break after “Firaaq”. I am a mid-career person. This is a huge responsibility. I will be happy if I can make some difference.

Given the state of children’s films in India, is this a good time to be taking over the reins of CFSI?

There is no such thing as the best time to do things you really want to do. This is a great opportunity to make a difference to children’s films. But it is also a daunting task. I am still finding my feet. A certain kind of stagnancy creeps into old organisations. I am trying to make systemic changes in CFSI that are beyond individuals.

Would you get a free hand to do so in a government body?

I am getting good support from the I&B ministry. A whole lot of people in the industry are ready to help. I have been speaking to Gulzar saab, Vishal Bharadwaj, Nagesh Kukunoor, Shyam Benegal, and many others. We have to make children’s films a space where good filmmakers and scriptwriters want to come. It isn’t easy to change the status quo.

What are the challenges facing children’s films?

In CFSI’s biennial international film festival slated for November 2009, I wanted to have a separate section on Indian films. Unfortunately, we didn’t have enough films that qualified and so we had to scrap the idea. The situation is dismal. Often good filmmakers don’t want to venture into children’s films as they fear their work will only remain in the cans. Often people use this platform as a stepping stone to do bigger films. The real challenge is to offer children content-driven, wholesome entertainment with the right values as a viable alternative to the television shows and mainstream films on which they are growing up.

Isn’t it strange that even multiplexes and 24x7 TV haven’t spurred filmmakers to look at children’s entertainment seriously?

Indeed it is, considering children form a huge film audience the world over. In India, economics gets in the way of everything, more so filmmaking. People often don’t want to take a chance, push boundaries. However, it is possible to make low or medium budget films that are strong in content and form, do not compromise on ideals and are a lot of fun. Unfortunately, our films for children are either preachy, badly made and boring, or fluffy and mindless.

Where does the problem lie?

There is creativity. And people also understand there is a market. I’m trying to figure out where the gap is. In the festival, we have a series of open forums where we will be discussing such issues as why are children’s films invisible in India, how do you define children’s films, and so on.

Do you think our children’s films are caught in a time warp vis-À-vis the changing sensibilities of children?

Today’s children are growing up on a completely different diet. We need to understand what they want, what their influences are and how they perceive children’s films. That’s why we have children participating in our seminars this time. We have a children’s jury this year where the children will decide which films they like. Even in the CFSI decisions, we haven’t involved children and we need to do that. They are the biggest stakeholders in this. Children need to be exposed to the kind of films that we are talking about. Where do they get the opportunity? If you are used to one kind of entertainment, you’d never know whether you like anything else.

Where do your social work and film career connect?

I was already into human rights work much before films happened. My experiences there have impacted my choice of films as an actor and a director. Films have given me a wider platform and so I am doing more advocacy than grassroots level work these days. To me, films and social work are two inter-connected ways leading to the same goal.

Being called an “intelligent” actress…doesn’t this constrain your ambit?

I don’t think about what labels people put on me. Some say I could have made it big had it not been for the choices I made, others compliment me for sticking to my guns. I don’t have a battle waging inside me. I’m doing what I like doing, work that resonates with my own interests and concerns.

Any update on your forthcoming projects?

I am in touch with Deepa Mehta for “Midnight’s Children”. That’ll take some time. I am reading scripts as an actress, but sadly nothing very exciting yet. My primary focus is on CFSI.

Expectations from you as a filmmaker are high now.

I am getting offers from producers in India and abroad. But it is a long process. “Firaaq” has taken a lot out of me. I will begin thinking and writing something after the film festival is over.

Actor Bala’s miraculous escape

Bala had acted in many films including Anbu, Kadhal Kisu Kisu and Manjal Veyil. Now he is also acting in Malayalam films.
He was proceeding to Vagaman in Idduki District for the shooting of the Malayalam film titled Ring Tone in his caravan. When they were nearing Illapalli water falls the brakes failed and the caravan rammed into a tree.
As a result Bala and the driver sustained minor injuries. But had the caravan missed the tree, it would have fallen into the valley which would have cost their lives.

Katrina Kaif shares her chemistry with co-star in much awaited comedy flick

PUNE - Bollywood actor Katrina Kaif hails energy level of his co-star Ranbir Kapoor on the sets of their much-awaited film ‘Ajab Prem Ki Gajab Kahani’ (APKGH).

After delivering some serious films, director Rajkumar Santoshi is all set to provide the audience with a breather with his upcoming romantic comedy APKGH.

With a title that is too long, and quite unlike a typical Bollywood name, the forthcoming movie has already made its presence felt.

And the other thing making news is on-screen chemistry seen in promos and off-screen chemistry seen in media briefings between actor Kaif and Kapoor. The actors have been paired for the first time for this romantic comedy.

Kaif while talking to reporters at a promotional event here on Friday said that they gelled well with each other because of their similar working style of keeping the energy flowing on the film set.

Kaif recalled the entertainment on the sets of the film and said that when the filmmaker is passionate then the energy level on the sets is much better.

“In this film ‘Ajab’, baseball I think it was. Baseball in between every shot we have like cameraman assistants and the lighting guys and every one together playing baseball. I think I was wearing some weighing dress but still I managed to play. It’s just the matter of wanting to be on the film set. If you are working with someone who wants to be there and then passionate about making films because that’s what they love doing, then the energy is so much better.”

The film is a romantic tale of two youngsters, Prem and Jennifer, played by Kapoor and Kaif.

Shot in Ooty, Goa, Mumbai and Turkey ‘Ajab Prem Ki Gajab Kahani is slated to release on November 6. (ANI)

Friday, October 23, 2009

Actor Vijay Biodata (South Indian Actor)

Name = Joseph Vijay

Cinema name = Vijay

Pet Name = Ilaya Thalapathy

Date of birth = 22.6.1974

Birth Place = Chennai

Mother tongue = Tamil

Languages Known = Tamil and English

Nationality = Indian

Father = S.A.Chandrasekharan (producer-director)
Mother = Shobha Chandrasekharan

Wife = Srilankan Tamil Hindu girl Sangeetha
Marriage Day = 25.8.1999

Son = Sanjay
Daughter = Divya Saasha
Height = 5′11”
Education = Bachelors Degree of Visual Communications at Loyola College

profession = Actor, singer
Hobbies = Singing, Tv

Favourite Actress = Simran

Favourite Colour = Black

Favourite Actor = Rajini, Kamal

Favourite Dish = Dosa and Chicken

Favourite Dress = Jeans and T-shirt

Favourite Spot = London and Los Angeles

Debut Film
Child artiste = ‘Vetri ‘

Action Hero =’Nalaya Therpu’, directed by S A Chandrashekar(father)


Tamil nadu state Best Hero award (1997) for “Kaadhalukku Mariyadhai”

Kalaimamani Award of Tamil Nadu Govt. for 1998

Vijay Film

Nalaya Theerpu Dec 4th, 1992
Senthoorapandi Dec, 1993
Rasigan 1994
Deva Feb, 1994
Rajavin Parvailae 1995
Vishnu 1995
Chandralekha 1995
Coimbatore Mapple Jan 14th, 1996
Poove Unakkagha Feb 15th, 1996
Vasantha Vasal 1996
Manbumigu Manavan 1996
Selvaa Dec, 1996
Kalamelam Kathiruppen Jan 14th,1997
Love Today May 1997
Once More Jun 4th, 1997
Neeruku Ner Sep 5th, 1997
Kadalukku Mariyadhai Dec 19th, 1997
Ninaithen Vandai Apr 10th, 1998
Priyamudan Jun 12th, 1998
Nilaave Vaa Augt 14th, 1998
Thulladhamanamum Thullum Jan 29th, 1999
Endrendrum Kaadhal Mar 05th, 1999
Nenjinile Jun 25th, 1999
Minsara Kanna Sep 09th, 1999
Kanukkul Nilavu Jan 14th, 2000
Kushi May 19, 2000
Priyamanavale Nov 26th, 2000
Friends Jan 14th, 2001
Badri Apr 16th, 2001
Shahjahan Nov 14th,
Tamizhan Apr 14th, 2002
Youth July 19th, 2002
Bagavathi Nov 04th, 2002
Vaseegara Jan 15th, 2003
Pudhiya Geethai 2003
Thirumalai Oct 24th, 2003
Udhaya Mar 28th, 2004
Ghillli Aprl 17th, 2004
Madurey Aug 27th, 2004
Thirupachi Jan 14th, 2005
Sachien April 14th, 2005
Sivakasi July 20, 2005
Aadhi January 14, 2006
Pokkiri January 14, 2007
Azhagiya Thamizh Magan
Kuruvi – 2008
Vettaikkaaran ???????
Sura – 2010

Sonia Agarwal shocks producer

Actress Sonia Agarwal was recently in news for seeking divorce from her director husband Selvaraghavan. She is reported to have shocked a producer by asking Rs 60 Lakhs as remuneration to work in a remake of yesteryears Tamil super hit Manmathaleelai (originally directed by K. Balachander with Kamal Haasan in the lead role).

Sources say that Sonia is now making attempts for a comeback in cinema and doesn’t have too many films in her kitty. So the producers apparently thought it would be easy to get bulk shooting dates from her. Aware that her role would be ultra glamorous, Sonia agreed to do the film, but shocked the producer when she quoted Rs. 60 lakhs as her fee, added the source. Now the producer is reportedly looking for a suitable actress from Kerala.

Another Bollywood Khan Quits Smoking

The Bollywood actor Aamir Khan following the lead of his fellow Indian movie stars Salman Khan and Shah Rukh Khan has decided to quit smoking but he’s not finding it easy. Aamir who is busy releasing his latest movie ‘3- idiots’ has spoken about the stress and worry which he is under and despite his promise to quit smoking he is dying to have a cigarette because he thinks it will relax him.
However at the same time Aamir Khan said that he had no intention of lighting up because a promise was a promise and also because he believed that when he decided to stop smoking he did so for a “noble cause”. At Ukmedix News we have seen how people who quit for a ‘higher cause’ and who make their smoking cessation attempt an important personal battle are more likely to have success.

You should look at smoking cessation as climbing an extremely high mountain and will yourself and promise yourself that you shall not fail no matter what obstacles come in your way. Harness your competitive streak and look at smoking as something which needs to be beaten, otherwise it will eventually destroy you.

Smoking is a chronic problem for the Indian government with millions of smokers many of whom are getting sick and costing the nation a fortune in medical care. The Bollywood film industry is immensely powerful and popular in India and the example of actors like Salman Khan, Shah Rukh Khan and Aamir Khan in quitting will be far more effective than public health campaigns initiated by the government.

There have been calls for the Bollywood film industry to follow the lead of some Hollywood film producers in completely banning the portrayal of smoking as glamorous or cool in films. In Hollywood for example the production company Disney will only allow smoking in a context that makes it look unattractive and uncool.

Im big fan of Kareena- Katrina Kaif

Katrina Kaif is going ga ga over Kareena and their bond. Recently giving an interview to a news channel Kat was excited to talk about her friend. Not many people know that both the vivacious actress shares the same manager too.

“She is very nice girl and I like her as well as her work. We even shares one manager and I am a big fan of her,” says Katrina.

There had been news in the industry about their cold war but with this statement of Kat, she is putting it all the rumours at rest. Kareena Kapoor was the unchallenged queen of B-Town at as far as her price was concerned. But Katrina Kaif started competing with her at every turn: with the price, the number of film, as well as endorsements.

“Whenever we meet each other she talks with me very nicely and I too love her company. I really do admire her as one of the great actress in the industry,” she states in the interview to the entertainment channel.

Looking at this statement it seems the cold war between the two actresses has ended. All’s well that end’s well is what we can say in this case.

South Indian Actor Prakash Raj Receiving Natinal Award

The 55th National Awards ceremony was held at New Delhi. Actor Prakash Raj, Priyadarshan were honoured by Smt. Pratibha Devisingh Patil, President of India.

Buzz up!
Prakash Raj was honoured as ‘Best Actor’ for his awe-inspiring performance in offbeat film Kanchivaram while Priyadarshan was awarded as ‘Best Filmmaker’ for the same film. Music director Shankar Mahadevan bagged ‘Best Male playback singer’ for his enchanting song ‘Maa’ of Taare Zameen Par.

The Union Minister of Information and Broadcasting, Smt. Ambika Soni, the Ministers of State for Information and Broadcasting, Shri Mohan Jatua and Dr. S. Jagathrakshakan and the Director, Directorate of Film Festivals, Shri S.M. Khan were also present for the occasion.

Director Priyadarshan is much elated with this prestigious award and had wished more good films from Indian film industry must be promoted all throughout the globe.

Shetty gets engaged

Former 'Big Brother' winner Shilpa Shetty will get engaged to her businessman boyfriend at a ceremony tomorrow, her publicist confirmed.

Shetty and London-based Raj Kundra will hold a small party to celebrate the event at her apartment in Mumbai.

The actress’s publicist said: “It will be a very private affair, where only immediate family members will be present. There won’t be a bash for sure.”

The wedding is due to be held in December, but no date has yet been set. Shetty, 34, had earlier revealed that she would like a traditional Indian ceremony.

“She has ordered jewellery for the wedding and has picked every piece with care. We are gearing up for her wedding in December,” her publicist told Indian newspaper DNA.

Reports indicate the ceremony will be held in Mumbai followed by a reception in London.

The couple, who bought a stake in cricket’s Indian Premier League team the Rajasthan Royals in February, have been dating for around two years.

Shetty’s actress sister Shamita, who is currently in the Indian version of the reality show Big Brother, will be unable to attend the engagement on Saturday.

Nayantara to debut with Salman in ‘Most Wanted’

South Indian actress Nayantara is all set to make her debut in the B-town.

The actress will be seen romacing opposite Salman Khan in ‘Most Wanted’, a sequel to ‘Wanted’.

The decision to make Wanted’s sequel will be taken after its huge success.

According to sources, the south Indian actress was signed for the film on the recommendation of her beau director & actor Prabhu Deva.

On Prabu’s suggestion, film producer Boney Kapoor soon agreed to sign up Nayantara as he knows that she is already a big star in South.

Meanwhile, Boney isn’t ready to comment on it, while answering a question on this he said, “It is an idea and they are working on it.”

Hot and Sexy Kartina Kaif : Information

Katrina Kaif aka Katrina Turquotte born 16 July 1984 is a British-Indian actress and model who has appeared in Hindi, Telugu and Malayalam films in India.

sexy kartina kaif hot

Born in Hong Kong to a Kashmiri Muslim father, Mohammed Kaif, and a British Christian mother, Suzzane Turquotte. Her mother, a Harvard graduate, was a lawyer but later became involved in charity work. Her parents separated when Kaif was very young. Kaif has seven siblings. She was raised in Hawaii and later moved to her mother's home country, England.

Please find below, The Latest Kartina Kaif Gossip

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Thursday, October 22, 2009

Sindhu Tolani to marry Surrender Reddy

South Indian actress Sindhu Tolani will now pronounce ‘I Do’ with Telugu film industry’s leading director Surrender Reddy. The actress made her debut in Kollywood with Dhanush starrer ‘Sullan’ and later continued performing minimal roles with Silambarasan in ‘Manmadhan’ a song sequence in Vikram starrer ‘Majaa’ and starred opposite Ranjith in ‘Pasupathy C/o Rasakapalayam’.

The actress has been maintaining a good relationship with Surrender Reddy ever since both of them worked together with ‘Athanokkade’ (later remade in Tamil as ‘Aadhi’). As well the director had witnessed continuous success with ‘Ashok’, ‘Athidi’ and recent blockbuster ‘Kick’.

Both of them will enter into wedlock by end of this month and they’re yet to make official announcements by this weekend.

We, as the team members of top10cinema extend our heartiest congrats for Sindhu Tolani and director Surrender Reddy for a happy married life.

Actress Nila reveals her marriage plans

The hot bootylicious actress Nila is all set to wave ‘Good Bye’ to tinsel town as her parents have started looking out for a groom. Actress Nila shot to fame in Tamil film industry with SJ Suryah’s ‘Aa…Aah’ and later acted in various Tamil and Telugu films.

But now, she has decided to get settled in family life after completing couple of Bollywood projects which are ready to take off shortly. Earlier, the buzz was that she has a boyfriend in the United

States and later got romantically linked with actor Aarya. But now, the actress herself spoke regarding her marriage while interacting with media channels.

Says Nila: ‘Yes, it’s true that I will be getting married within the next 6 months. But right now, I am occupied with a couple of Bollywood projects that will start rolling by the end of this month. My recent release ‘Jagan Mohini’ has won me more appreciations from film critics. Many have been asking me about quitting film industry after marriage. I will continue acting if substantial roles are offered…’

Salman and Nayanthara Most Wanted

After the success of Boney Kapoor’s Wanted, Salman is said to star in the sequel Most Wanted. And for this, the South India’s beautiful actress Nayanthara is said to have been roped. If sources are to be believed, Nayanthara was finalised to star in the film on the insistence of director Prabhu Deva, who was rumored to be dating this actress.


A source reveals that producer Boney Kapoor announced Most Wanted as he was keen to repeat the magic of Wanted by working with the same team again. When Prabhu suggested Nayanthara’s name for the female lead, Boney, who knows that the actress is a big name in the south, was glad to have her on board.

Shriya, Asin, Trisha, Padmapriya, Priyamani, Sada – what’s the common factor?

There are several common factors in this long list of actresses. They are all lissom lovely lasses who have stolen many a heart. They have all proved that they can wear sexy outfits and pose as eye candy and also sparkle in emotional roles. But the most striking factor? They are posing a threat not only to other South Indian actresses, but to Bollywood beauties as well! Each of these gals has acted or is in the process of making her debut in Hindi cinema.

Times have truly changed. It was common for Mumbai models to seek openings in South Indian cinema. But after Sridevi successfully moved from Kollywood to Bollywood, not a single Tamil actress has managed to make the transition quite so smoothly or successfully. It appears that a virtual entry barrier in Hindi cinema had keep out aspiring southern actresses, but this barrier has come down at last. Bollywood, that had till now merely stolen our talented technicians – Mani Ratnam, A.R. Rahman, Priyadharshan – has opened its doors and hearts to southie gals too.

Shriya’s and Sada’s Hindi movies may not have fared too well, but the ladies still have a list of Hindi projects to pick from. Asin, who had a dream debut opposite Aamir Khan in Ghajini, awaits the release of her London Dreams with Salman Khan. The actress has even found herself a house in Mumbai, because it makes sense now to have a base there too. Trisha is only too excited that her mentor Priyadharshan has picked her for his next movie, and Padmapriya is more than thrilled with Striker opposite Siddharth. Priyamani, who is still being showered with praise for her National Award-winning role in Paruthiveeran, has her chance at Bollywood fame with her role in Mani Rathnam’s Raavan.

The only Southern starlet yet to migrate North is Nayantara, but we are sure she will soon get her break too. We hear that Shahrukh Khan, who tasted phenomenal success with Om Shanthi Om with Deepika Padukone (whose actual debut was in the South) is keen to cast a Tamil actress in his next movie, possibly Nayan.

And with all these top girls busy up North, Kollywood is happy to welcome new talent – Anushka, Tamannaah, Kajal Agarwal, Sunaina, Poorna and a slew of new faces (many of them being North Indians still learning Tamil). While it’s good to have bigger dreams and newer talent, we also hope that our northward bound stars don’t forget or abandon their original launch pads!

South Indian actress Nayanthara debuts in Bollywood with Salman Khan

South Indian actress Nayanthara is set to make her Bollywood debut. And that too with Salman Khan! She will be part of Most Wanted, the sequel to Wanted. According to sources, she was signed on for the film on director Prabhu Devaa’s insistence, who is rumoured to be her boyfriend. In fact, the buzz is that they have secretly married.

Producer Boney Kapoor readily agreed when Prabhu suggested Nayanthara as the former knows that she is quite a big star in the south. Even though Boney isn’t ready to say if it is finalized or not, he does say that it is an idea and they are working on it.