Salman Khan takes sarcastic dig at AR Murugadoss for saying he arrived at 8 PM on Sikandar sets: “Madharaasi is a bigger blockbuster”

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Actor Salman Khan, who’s currently hosting Bigg Boss 19, didn’t hold back as he addressed director AR Murugadoss’s recent comments accusing him of reporting late to the sets of their film Sikandar. The actor used the popular reality show’s Weekend Ka Vaar episode to respond with his trademark wit and characteristic candour. The Background: Murugadoss's Allegation Earlier, Sikandar director AR Murugadoss had told Valaipechu Voice that working with a major Bollywood star posed challenges. He claimed Salman would “arrive only by 8 PM,” forcing the crew to shoot even day scenes at night. Murugadoss described the schedule as chaotic, saying it affected child actors who had to film late into the night. Despite acknowledging his own creative shortcomings, the director hinted that the erratic timing contributed to the film’s underperformance. Salman’s Retort on Bigg Boss 19 Addressing the issue head-on during Bigg Boss 19, Salman responded to a question from comedian Ravi Gupta about film...
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Behind the scenes with Sofia Coppola: memories from a life in film

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The celebrated director looks back at her career, sharing the inspirations and experiences that shaped films from Lost in Translation to her forthcoming biopic, Priscilla​. Words by Sofia Coppola, introduction by Kathryn Bromwich

There is a particular aesthetic that runs through Sofia Coppola’s work, whether she is turning her gauzy, feminised lens on the southern gothic of The Beguiled or urban alienation in Lost in Translation, the rococo excesses of Marie Antoinette or disaffected suburban youths in The Bling Ring. Coppola is adept at creating heady atmospheres and worlds that feel fully realised, her characters veering between emptiness, desire and repression; the frames in her films have a painterly quality, straddling the line between beauty and claustrophobia. Her singular style has influenced much of contemporary popular culture, from Lana Del Rey’s wistful music videos to Emma Cline’s novels about lonely and potentially dangerous young women.

Coppola’s first book, Archive, collects behind-the-scenes ephemera from her films, starting with her 1999 directorial debut, The Virgin Suicides, and ending with her forthcoming biopic of Elvis Presley’s young bride, Priscilla. Holed up at home in Napa, California, during the pandemic, Coppola started to go through boxes of old material: Polaroids, early scripts, clippings, letters, doodles. These discarded objects had taken on a nostalgic quality over the years, and so Coppola put together the most meaningful mementoes from each project, accompanying them with musings and personal recollections. Speaking to journalist Lynn Hirschberg in the book’s introduction, Coppola reflects on Priscilla, which premieres at the Venice international film festival next month. “Across all my films, there is a common quality: there is always a world and there is always a girl trying to navigate it. That’s the story that will always intrigue me.” Kathryn Bromwich

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