<p>He has worked as casting director for films like Bandit Queen, Bombay Blues and contributed to television as a writer and directed serials Kahani ek Kanya ki, Naya Daur and Star Bestsellers. <br /><br />But he ultimately came into his own with Haasil and has been since given his best in the form of Paan Singh Tomar and Saheb Biwi Aur Gangster. Not to mention his very commendable acting stint as Ramadhir Singh in Gangs of Wasseypur. He is Tigmanshu Dhulia whose Sahib Biwi Aur Gangster Returns is now being eagerly awaited.<br /><br />The success of the first part has made Tigmanshu a bit concerned about the sequel scheduled for release Friday. “People have a lot of expectations. In the first part we had too many bold scenes. So, the audience must be looking for them, but the scenes are less in the second part. Content wise it is stronger than earlier,” says Tigmanshu. What has kept him away from the steamy scenes this time? He pauses before replying, “Is baar toh Saheb (Jimmy Shergill) wheelchair par hain to woh kaise kuch karenge.” (This time Saheb is on the wheelchair, so how can he do <br />anything?) He attempts a serious reply the second time round, “Saheb, Biwi.. is more dramatic this time. Characters are more ambitious especially Madhavi (Mahie Gill’s character). This time we have focused on certain things which were left out because of a tight budget earlier. Two new characters, Irrfan Khan and Soha Ali Khan have also been introduced. Above all, it is now a woman-centric film.”</p>.<p><br />There is no denying that Tigmanshu’s way of narrating even a simple story onscreen is one-of-its kind. All his films speak volumes about his directorial skills. “Mein wohi karta hoon jo mujhe aata hai (I do what I know). I cannot make films like Karan Johar and he cannot make a movie like mine,” he says. “There are two kinds of directors in the industry today. One, who are a product of cinema - their movies revolve around the tested formulas. The others are products of life and their films are inspired from politics and personal lives. <br /><br />“As a director I want to make movies that can create the same excitement in the audience when they hear a sound of accident or want to see what happened at the accident site. I want to make every scene of my movie thrilling.” <br /><br />It may be because of this approach, that Tigmanshu is counted amongst those filmmakers today who are playing a crucial role in redefining the contours of Indian cinema in their own style. “It’s good if people are recognising my work. But it cannot be taken into consideration while directing a movie because if I start to believe in this, my films will become boring,” says he. <br /><br />However, efforts to make films different from the league have not always been fruitfulespecially in the case of Charas (2004) and Shagird (2011). “I feel offended when my movies are criticised. In case of Shagird, the marketing team played spoilsport whereas in Charas, I believe that if it is re-released today it will be a big hit.” <br /></p>
<p>He has worked as casting director for films like Bandit Queen, Bombay Blues and contributed to television as a writer and directed serials Kahani ek Kanya ki, Naya Daur and Star Bestsellers. <br /><br />But he ultimately came into his own with Haasil and has been since given his best in the form of Paan Singh Tomar and Saheb Biwi Aur Gangster. Not to mention his very commendable acting stint as Ramadhir Singh in Gangs of Wasseypur. He is Tigmanshu Dhulia whose Sahib Biwi Aur Gangster Returns is now being eagerly awaited.<br /><br />The success of the first part has made Tigmanshu a bit concerned about the sequel scheduled for release Friday. “People have a lot of expectations. In the first part we had too many bold scenes. So, the audience must be looking for them, but the scenes are less in the second part. Content wise it is stronger than earlier,” says Tigmanshu. What has kept him away from the steamy scenes this time? He pauses before replying, “Is baar toh Saheb (Jimmy Shergill) wheelchair par hain to woh kaise kuch karenge.” (This time Saheb is on the wheelchair, so how can he do <br />anything?) He attempts a serious reply the second time round, “Saheb, Biwi.. is more dramatic this time. Characters are more ambitious especially Madhavi (Mahie Gill’s character). This time we have focused on certain things which were left out because of a tight budget earlier. Two new characters, Irrfan Khan and Soha Ali Khan have also been introduced. Above all, it is now a woman-centric film.”</p>.<p><br />There is no denying that Tigmanshu’s way of narrating even a simple story onscreen is one-of-its kind. All his films speak volumes about his directorial skills. “Mein wohi karta hoon jo mujhe aata hai (I do what I know). I cannot make films like Karan Johar and he cannot make a movie like mine,” he says. “There are two kinds of directors in the industry today. One, who are a product of cinema - their movies revolve around the tested formulas. The others are products of life and their films are inspired from politics and personal lives. <br /><br />“As a director I want to make movies that can create the same excitement in the audience when they hear a sound of accident or want to see what happened at the accident site. I want to make every scene of my movie thrilling.” <br /><br />It may be because of this approach, that Tigmanshu is counted amongst those filmmakers today who are playing a crucial role in redefining the contours of Indian cinema in their own style. “It’s good if people are recognising my work. But it cannot be taken into consideration while directing a movie because if I start to believe in this, my films will become boring,” says he. <br /><br />However, efforts to make films different from the league have not always been fruitfulespecially in the case of Charas (2004) and Shagird (2011). “I feel offended when my movies are criticised. In case of Shagird, the marketing team played spoilsport whereas in Charas, I believe that if it is re-released today it will be a big hit.” <br /></p>
