Determined to go big with her maiden production, writer Kanika discusses how she roped in her first choices Kajol and Kriti Sanon for Do Patti
(L to R) Kriti Sanon, Kajol and Kanika Dhillon
Writer Kanika Dhillon remembers that in the initial years of her career, she would spend considerable time figuring out the right contacts that would help her find her footing in the industry. Right then, she promised herself that if she rose to a position of power, she would build a platform for writers so that they could focus on their craft instead of chasing contacts. Katha Pictures, the production house that she launched last week, is the realisation of that belief. “I want the growth of my production house to be linked to grooming of new writers,” begins Dhillon, asserting that unheard stories will be at the centre of her productions.
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Dhillon has found one such story in Do Patti. The writer—who has penned Manmarziyaan (2018) and Haseen Dillruba (2021), among others—announced the launch of her banner with the mystery thriller that will star Kajol and Kriti Sanon. She says that Sanon was so impressed by the story that she decided to join her as a producer. “I was in touch with Kriti way before I even finished the script. That’s how I have functioned while writing the last three-four films. I reach out to the actors before I finish writing a story because I write to the actor’s strength,” explains Dhillon.
Getting a nod from Kajol is not easy. But Dhillon was certain that when it came to her maiden production, she had to dream big. “I’ve been a fan of Kajol ma’am. Everybody wondered whether this would work out, but I thought this is my first film, and I should be ambitious and unafraid. So, I went to Kajol ma’am to narrate the story, and she loved it.”
Through her scripts, Dhillon has championed strong, unconventional female characters. It’s only natural then that as a producer, she wants to bring more women to the forefront. “[Recently], I was hiring a few women as my executive producers. I was told, ‘Ma’am, how will we get a woman in this role? They can’t negotiate, they are emotional.’ I said, ‘Can’t you see you are talking to a woman? I am the boss!’ I have told my production house members to make sure we hire women in the team.”
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