Did Karan Johar and Ayan Mukerji have Creative Differences while Filming Brahmastra? 

 
Brahmastra

Have you watched the film, Brahmastra yet? The film is making headlines all over the internet as it is a very different film and we haven't made anything like this in India before. The film showcases amazing VPX effect and we see a great chemistry between Ranbir and Alia. 

This is Ayan Mukherji's third Bollywood film and has made 400 crores in the box office till now. In an interview, it was tried to decode the code behind the success. KJo was asked if there was any instance of creative disagreement between you (Karan Johar) and director Ayan Mukerji. Here is what he replied.

“To be honest, not at all. This was this (film) was completely born within Ayan. Every bit of the film, every element, every part of it, every aspect of it was created within his imagination and visualization. There was no way you could disagree. Because how can you disagree with someone’s visualization? I can give my input but there was never a disagreement,” Karan Johar said.

Ayan said, “There was stuff which Karan did not like. There was a big Kaali Puja sequence in the film. When you (Karan) saw the sequence, you were very harsh. He really bit**** about it. I hope I am allowed to say that word.”

 Karan responded by saying, “I never did that. I said that the scene was very terrible and I said I think you need to re-shoot it. And there was actually, and we can say it now, Kesariya was shot in another way.”

“Kesariya was shot with Ranbir dancing quite feverishly. When we saw the song, I said ‘What the hell is going on? What is wrong with you Ayan?’. Why were they dancing? Kesariya was shot differently. Same tune melody but treated differently.  It is then that Ayan realized it has to be treated differently. It is then when we shot the Kalli Puja scene,” Karan said.

Karan also highlighted that Isha's life was supposed to be depicted in that Kaali Puja scene. “But eventually, we had to compromise Isha’s backstory for the creative pace of the film,” he added.  Both Ayan and Karan termed the process as a part of “creative adjustment.”