Kissing scenes in Bollywood have always made tabloid headlines. So it’s not surprising that the lip-lock shared between Katrina Kaif and Hrithik Roshan in Zindagi Na Milegi Dobara (ZNMD) too is creating ripples. But Katrina is not amused and remains completely unfazed. The actor feels too much attention is being given to the scene.
“Why give it so much importance? I don’t feel the sequence is even worth talking about. People won’t watch the film only for the kiss, I can promise you that. Personally too, I don’t give it any attention. People will come only if they are interested in the film, like the promos, or if they like the vibe of the film,” she says. “It’s part of an actor’s job.”Of late, talks have been rife that the makers of ZNMD were confused about the Hrithik-Katrina kiss. They were believed to be in two minds regarding how much of the elaborate sequence should be retained in the film. But apparently, the kiss remains unedited in the final version.
This is not the first time Katrina has locked lips in a film. Her kiss with Gulshan Grover in her debut film, Boom (2003) was deleted from the initial versions of the DVDs , but is reportedly set to appear in the new versions. But she wasn’t bothered about her first on-screen kiss being made public too. “What’s there to react? And what’s new about those scenes?” she had said a couple of months ago. The actor had further added that she doesn’t deny having done scenes in the past she wasn’t comfortable with.
But Katrina is clearly excited to share screen space with Hrithik for the first time. “He is an amazingly talented person. I always wanted to work with him and I’m happy to have got the opportunity now. You can really learn a lot about focus, concentration and dedication from him,” she says. As ZNMD gears up for release, director Zoya Akhtar and her team have been serving up several promotional activities, including a tie-up with UTV Movies and the entire cast going on a road trip from Mumbai to Gurgaon. Ask Katrina about working with her second female director after Farah Khan (Tees Maar Khan, 2010) and she shrugs, “A female or male director... that’s not important to me. Actually, I don’t see any difference. You are either a good director or you are not, and hopefully I have met a good director (in Zoya Akhtar).”