인스타그램 스토리 저장

Some projects feel special even before the world sees them.
Watching the teaser of Glory finally out in the world is one of those moments.
This one is particularly close to my heartnot just because of the scale or we worked on it or promise the teaser holds, but because of the people behind it. My brother @krnx has always been a storyteller with a clear voice and vision, and seeing him bring this world to life with such conviction is deeply inspiring.

It also marks an important milestone for his production house@atomicfilmsin as its first solo release. A big congratulations to Mohit Shah the series producer and Karan’s partner at Atomic Films, for helping build and steer this journey.And a very special mention to @anuradhasharma , the backbone of Atomic Films, whose constant support and strength quietly holds everything together behind the scenes.
The series is directed by Karan Anshuman and @kanishk.varma , created by @karmanya_66 and Karan together , with arifmir and @nishant_pandey0612 as Executive Producers.
Beautifully shot by @johnschmidt13 with production design by @sonamsingh and @abhijeet.gaonkar , edited by Manan Mehta and Maahir Zaveri, music by John Stewart Eduri, sound design by Vivek Sachidanand, and costume design by Theia Tekchandaney
They all coming together to shape the world and texture of the series.

A fantastic ensemble bringing this world alive:
@divyenndu
@pulkitsamrat
@suvindervicky
@ashutosh_ramnarayan
@sayanigupta
@kashmiraofficial
@vishalvashishtha
@jannatzubair29
@sikandarkher
@whokunalthakur
@iyashpalsharma
@yugamsood19
@manujsh
@officialzakirhussain
Ankit Mohan
Kamaljeet Rana
@iammanujsharma

Casting team led by me at @castingbay with the support of my team that includes
Gulshan Suryavanshi
Aklavya Chaudhary, Abhishek Pratap Singh, Aditya Pratap Singh
And lastly aheartfelt thank youto Shoaib Lokhandwala and Aakansha Bisht at Netflix They are the people who consistently stand behind creators and filmmakers, supporting their vision and helping stories like these reach audiences around the world.
Congratulations to the entire team. The teaser looks fantastic and I can’t wait for audiences to experience the world of Glory

Some projects stay with you through the entire journey. Happy to finally share this one

Grateful to @hrithikroshan sir @eshaanroshan and @hrxfilms for backing the show , trusting us , and to @ajitpalsview for bringing such a clear and compelling vision to it.
It was a pleasure putting together this wonderful ensemble
@par_vathy
@alayaf
@srishti.shrivastava21
@rrama.sharma
@sabazad
@suvindervicky
@ashishvidyarthi1
@rajitkapurofficial
@priyankasetia11
@rodegautam
@ashokpathakt
@rranjanraj18
Casting something like this is always a collaborative journey. Grateful to my fantastic team @castingbaywho worked tirelessly through the process
@suryaanshtripathi
@sachinishere_
@aklavya_
@vivek_ka_username
@_siyaa29
A special mention to @sahira.nair from Amazon Prime Video ,someone who has been a constant pillar of support for the show. People like her work quietly behind the scenes but play a huge role in shaping and nurturing projects like these.
Looking forward to audiences discovering it soon on @primevideoin

At Casting Bay, we are always looking for a great performer and the right people behind the casting process.
We are now expanding our team and hiring:
Associate Casting Directors
Assistant Casting Directors
If you are passionate about actors, performances and storytelling, this could be a great opportunity to be part of the casting process for films, series and ad films.
Send your CV to: joincastingbay@gmail.com
Subject: Casting Team Application

Please note: This email ID is not for sending actor profiles, photos or videos

Some projects ask you to cast actors.
Some ask you to find faces.
And sometimes you’re trusted to find memories.
This film needed us to go beyond performance where we had to discover young echoes of our cricket heroes and let their stories feel lived and not recreated. A month long of searching across country, watching, rejecting, doubting and finally recognising.
When Garvit ,the boy playing young @virat.kohli started getting love from everywhereand from the man himself , we quietly sat in our officesmiling. That’s usually how casting victories feel… silent for us, loud for the world.
Grateful to @abhinayrameshdeo for the trust and the patience this required.
Thank you @gorgeousneeta , @atulrjoshi and @umeshmshinde092 ,the producers at @rameshdeoprod for always believing in us and giving us opportunities that challenge and excite us.
This one belongs equally to the team that chased it every day:
Anmol Ahuja
Shubham Sharma
Karan Mishra
Shakti Singh Rajput
Rishabh Thakur
Chirag Balani
Sometimes the biggest applause is hearing people say “yeh bilkul waise hi lag raha hai.”

We’re casting female actor (20–25 yrs) for ayouth-driven ad film rooted in K-pop energy and contemporary choreography
We’re looking for someonewho feels effortless on camera ,expressive, confident and emotionally open.
Dance should feel natural, playful and fluid rather than technical or stagey.
This film needs a performer who can:
Carry movement + emotion together
Feel modern, relatable and aspirational
Transition seamlessly from rehearsal energy to screen presence
Pan-India
An Ad film for the brand to launch its new face
If this brief feels like you, apply via the Google Form (link in bio).
Please share dance reels / performance clips along with your profile.

Trends fade.
Performances stay.
We at Casting Bay stands for choices that respect the script,
Director’s vision,
and the actor’s truth.
A special shout-out to our friend@arya.deo21 on his first one as a director and to have clarity, calmness and confidence throughout the process.
Grateful to the producers for trusting and giving us the opportunity to collaborate each time.
Production House: @rameshdeoprod
Director: Arya Deo
Producers: @gorgeousneeta , @abhinayrameshdeo and @atulrjoshi
Executive Producer: @umeshmshinde092

Couldn’t have done this without the commitment and sharp instincts of the casting team Chirag Balani, Karan Mishra, Shakti Rajput led by Shubham Sharma and Anmol Ahuja.

We don’t chase trends.
We chase honesty.
Casting Bay stands for rigorous process,
deep character understanding
and performances that last beyond the frame.
If casting feels invisible when done right
that’s our job.
In collaboration with @tigerbabyofficial
Directed by @arjunvarain.singh
Produced by @zoieakhtar @reemakagti1 @vince_gomes
Casting team :Anmol Ahuja ,Shubham Sharma ,Suryansh Tripathi ,Sachin Tiwari ,Aklavya Chaudhary ,Vivek Singh

At age six or seven, Baby Naaz from the 1950s was her family's sole earning member, having been pushed by her mother into films. She was taken to the studios daily, where her mother coaxed producers and directors to give her a chance.

Daisy Irani was famously quoted in a major publication as saying, “Honey and I had no childhood, no education. We didn’t go to school. We were pushed into acting by our parents. By the time we grew aware of our predicament, our childhood was gone. We made a lot of money, but got none of it. Our mother blew it all up, but no regrets.”

Actress Sarika’s mother created two identities for her as a child: one female, Baby Sarika, and one male, Master Suraj, to cater to the market for both male and female child performers; she hardly sent Sarika to school—a practice which left the young actress virtually illiterate at age eleven. Her mother also controlled her finances, even when she came of age and was physically abusive both on and off-set, even physically assaulting her daughter in front of fans.

A new book, Behind the Big Screen: The Untold Stories of Bollywood’s Child Actors by Sunanda Mehta and Suchitra Iyer attempts to trace child actors who were popular in the 70s and 80s, but seemed to have faded into oblivion as they reached their teens and adulthood. The intention is not just to find out what they are doing now, but also to figure out how they handled their fame at such a young age and, more importantly, its abrupt departure once they entered adolescence.

Dilip Ghosh’s documentary, Children of the Silver Screen (1990) contains several such accounts of gruelling exploitation of child performers by film studios and ambitious parents.

Lalita Iyer writes. She is an Associate Editor at Outlook and the author of Aging (Un)Gracefully, The Whole Shebang, Raising Mamma and other books. @iyerground

@iyersuchitra @mehta_sunanda @castingbay @ghantaghartalkies

Read the full story 🔗 in bio.

#Bollywood #ChildActors #ChildStars #Childhood #FilmIndustry #Safety #MentalHealth

At age six or seven, Baby Naaz from the 1950s was her family's sole earning member, having been pushed by her mother into films. She was taken to the studios daily, where her mother coaxed producers and directors to give her a chance.

Daisy Irani was famously quoted in a major publication as saying, “Honey and I had no childhood, no education. We didn’t go to school. We were pushed into acting by our parents. By the time we grew aware of our predicament, our childhood was gone. We made a lot of money, but got none of it. Our mother blew it all up, but no regrets.”

Actress Sarika’s mother created two identities for her as a child: one female, Baby Sarika, and one male, Master Suraj, to cater to the market for both male and female child performers; she hardly sent Sarika to school—a practice which left the young actress virtually illiterate at age eleven. Her mother also controlled her finances, even when she came of age and was physically abusive both on and off-set, even physically assaulting her daughter in front of fans.

A new book, Behind the Big Screen: The Untold Stories of Bollywood’s Child Actors by Sunanda Mehta and Suchitra Iyer attempts to trace child actors who were popular in the 70s and 80s, but seemed to have faded into oblivion as they reached their teens and adulthood. The intention is not just to find out what they are doing now, but also to figure out how they handled their fame at such a young age and, more importantly, its abrupt departure once they entered adolescence.

Dilip Ghosh’s documentary, Children of the Silver Screen (1990) contains several such accounts of gruelling exploitation of child performers by film studios and ambitious parents.

Lalita Iyer writes. She is an Associate Editor at Outlook and the author of Aging (Un)Gracefully, The Whole Shebang, Raising Mamma and other books. @iyerground

@iyersuchitra @mehta_sunanda @castingbay @ghantaghartalkies

Read the full story 🔗 in bio.

#Bollywood #ChildActors #ChildStars #Childhood #FilmIndustry #Safety #MentalHealth

At age six or seven, Baby Naaz from the 1950s was her family's sole earning member, having been pushed by her mother into films. She was taken to the studios daily, where her mother coaxed producers and directors to give her a chance.

Daisy Irani was famously quoted in a major publication as saying, “Honey and I had no childhood, no education. We didn’t go to school. We were pushed into acting by our parents. By the time we grew aware of our predicament, our childhood was gone. We made a lot of money, but got none of it. Our mother blew it all up, but no regrets.”

Actress Sarika’s mother created two identities for her as a child: one female, Baby Sarika, and one male, Master Suraj, to cater to the market for both male and female child performers; she hardly sent Sarika to school—a practice which left the young actress virtually illiterate at age eleven. Her mother also controlled her finances, even when she came of age and was physically abusive both on and off-set, even physically assaulting her daughter in front of fans.

A new book, Behind the Big Screen: The Untold Stories of Bollywood’s Child Actors by Sunanda Mehta and Suchitra Iyer attempts to trace child actors who were popular in the 70s and 80s, but seemed to have faded into oblivion as they reached their teens and adulthood. The intention is not just to find out what they are doing now, but also to figure out how they handled their fame at such a young age and, more importantly, its abrupt departure once they entered adolescence.

Dilip Ghosh’s documentary, Children of the Silver Screen (1990) contains several such accounts of gruelling exploitation of child performers by film studios and ambitious parents.

Lalita Iyer writes. She is an Associate Editor at Outlook and the author of Aging (Un)Gracefully, The Whole Shebang, Raising Mamma and other books. @iyerground

@iyersuchitra @mehta_sunanda @castingbay @ghantaghartalkies

Read the full story 🔗 in bio.

#Bollywood #ChildActors #ChildStars #Childhood #FilmIndustry #Safety #MentalHealth

At age six or seven, Baby Naaz from the 1950s was her family's sole earning member, having been pushed by her mother into films. She was taken to the studios daily, where her mother coaxed producers and directors to give her a chance.

Daisy Irani was famously quoted in a major publication as saying, “Honey and I had no childhood, no education. We didn’t go to school. We were pushed into acting by our parents. By the time we grew aware of our predicament, our childhood was gone. We made a lot of money, but got none of it. Our mother blew it all up, but no regrets.”

Actress Sarika’s mother created two identities for her as a child: one female, Baby Sarika, and one male, Master Suraj, to cater to the market for both male and female child performers; she hardly sent Sarika to school—a practice which left the young actress virtually illiterate at age eleven. Her mother also controlled her finances, even when she came of age and was physically abusive both on and off-set, even physically assaulting her daughter in front of fans.

A new book, Behind the Big Screen: The Untold Stories of Bollywood’s Child Actors by Sunanda Mehta and Suchitra Iyer attempts to trace child actors who were popular in the 70s and 80s, but seemed to have faded into oblivion as they reached their teens and adulthood. The intention is not just to find out what they are doing now, but also to figure out how they handled their fame at such a young age and, more importantly, its abrupt departure once they entered adolescence.

Dilip Ghosh’s documentary, Children of the Silver Screen (1990) contains several such accounts of gruelling exploitation of child performers by film studios and ambitious parents.

Lalita Iyer writes. She is an Associate Editor at Outlook and the author of Aging (Un)Gracefully, The Whole Shebang, Raising Mamma and other books. @iyerground

@iyersuchitra @mehta_sunanda @castingbay @ghantaghartalkies

Read the full story 🔗 in bio.

#Bollywood #ChildActors #ChildStars #Childhood #FilmIndustry #Safety #MentalHealth

At age six or seven, Baby Naaz from the 1950s was her family's sole earning member, having been pushed by her mother into films. She was taken to the studios daily, where her mother coaxed producers and directors to give her a chance.

Daisy Irani was famously quoted in a major publication as saying, “Honey and I had no childhood, no education. We didn’t go to school. We were pushed into acting by our parents. By the time we grew aware of our predicament, our childhood was gone. We made a lot of money, but got none of it. Our mother blew it all up, but no regrets.”

Actress Sarika’s mother created two identities for her as a child: one female, Baby Sarika, and one male, Master Suraj, to cater to the market for both male and female child performers; she hardly sent Sarika to school—a practice which left the young actress virtually illiterate at age eleven. Her mother also controlled her finances, even when she came of age and was physically abusive both on and off-set, even physically assaulting her daughter in front of fans.

A new book, Behind the Big Screen: The Untold Stories of Bollywood’s Child Actors by Sunanda Mehta and Suchitra Iyer attempts to trace child actors who were popular in the 70s and 80s, but seemed to have faded into oblivion as they reached their teens and adulthood. The intention is not just to find out what they are doing now, but also to figure out how they handled their fame at such a young age and, more importantly, its abrupt departure once they entered adolescence.

Dilip Ghosh’s documentary, Children of the Silver Screen (1990) contains several such accounts of gruelling exploitation of child performers by film studios and ambitious parents.

Lalita Iyer writes. She is an Associate Editor at Outlook and the author of Aging (Un)Gracefully, The Whole Shebang, Raising Mamma and other books. @iyerground

@iyersuchitra @mehta_sunanda @castingbay @ghantaghartalkies

Read the full story 🔗 in bio.

#Bollywood #ChildActors #ChildStars #Childhood #FilmIndustry #Safety #MentalHealth

At age six or seven, Baby Naaz from the 1950s was her family's sole earning member, having been pushed by her mother into films. She was taken to the studios daily, where her mother coaxed producers and directors to give her a chance.

Daisy Irani was famously quoted in a major publication as saying, “Honey and I had no childhood, no education. We didn’t go to school. We were pushed into acting by our parents. By the time we grew aware of our predicament, our childhood was gone. We made a lot of money, but got none of it. Our mother blew it all up, but no regrets.”

Actress Sarika’s mother created two identities for her as a child: one female, Baby Sarika, and one male, Master Suraj, to cater to the market for both male and female child performers; she hardly sent Sarika to school—a practice which left the young actress virtually illiterate at age eleven. Her mother also controlled her finances, even when she came of age and was physically abusive both on and off-set, even physically assaulting her daughter in front of fans.

A new book, Behind the Big Screen: The Untold Stories of Bollywood’s Child Actors by Sunanda Mehta and Suchitra Iyer attempts to trace child actors who were popular in the 70s and 80s, but seemed to have faded into oblivion as they reached their teens and adulthood. The intention is not just to find out what they are doing now, but also to figure out how they handled their fame at such a young age and, more importantly, its abrupt departure once they entered adolescence.

Dilip Ghosh’s documentary, Children of the Silver Screen (1990) contains several such accounts of gruelling exploitation of child performers by film studios and ambitious parents.

Lalita Iyer writes. She is an Associate Editor at Outlook and the author of Aging (Un)Gracefully, The Whole Shebang, Raising Mamma and other books. @iyerground

@iyersuchitra @mehta_sunanda @castingbay @ghantaghartalkies

Read the full story 🔗 in bio.

#Bollywood #ChildActors #ChildStars #Childhood #FilmIndustry #Safety #MentalHealth

At age six or seven, Baby Naaz from the 1950s was her family's sole earning member, having been pushed by her mother into films. She was taken to the studios daily, where her mother coaxed producers and directors to give her a chance.

Daisy Irani was famously quoted in a major publication as saying, “Honey and I had no childhood, no education. We didn’t go to school. We were pushed into acting by our parents. By the time we grew aware of our predicament, our childhood was gone. We made a lot of money, but got none of it. Our mother blew it all up, but no regrets.”

Actress Sarika’s mother created two identities for her as a child: one female, Baby Sarika, and one male, Master Suraj, to cater to the market for both male and female child performers; she hardly sent Sarika to school—a practice which left the young actress virtually illiterate at age eleven. Her mother also controlled her finances, even when she came of age and was physically abusive both on and off-set, even physically assaulting her daughter in front of fans.

A new book, Behind the Big Screen: The Untold Stories of Bollywood’s Child Actors by Sunanda Mehta and Suchitra Iyer attempts to trace child actors who were popular in the 70s and 80s, but seemed to have faded into oblivion as they reached their teens and adulthood. The intention is not just to find out what they are doing now, but also to figure out how they handled their fame at such a young age and, more importantly, its abrupt departure once they entered adolescence.

Dilip Ghosh’s documentary, Children of the Silver Screen (1990) contains several such accounts of gruelling exploitation of child performers by film studios and ambitious parents.

Lalita Iyer writes. She is an Associate Editor at Outlook and the author of Aging (Un)Gracefully, The Whole Shebang, Raising Mamma and other books. @iyerground

@iyersuchitra @mehta_sunanda @castingbay @ghantaghartalkies

Read the full story 🔗 in bio.

#Bollywood #ChildActors #ChildStars #Childhood #FilmIndustry #Safety #MentalHealth

At age six or seven, Baby Naaz from the 1950s was her family's sole earning member, having been pushed by her mother into films. She was taken to the studios daily, where her mother coaxed producers and directors to give her a chance.

Daisy Irani was famously quoted in a major publication as saying, “Honey and I had no childhood, no education. We didn’t go to school. We were pushed into acting by our parents. By the time we grew aware of our predicament, our childhood was gone. We made a lot of money, but got none of it. Our mother blew it all up, but no regrets.”

Actress Sarika’s mother created two identities for her as a child: one female, Baby Sarika, and one male, Master Suraj, to cater to the market for both male and female child performers; she hardly sent Sarika to school—a practice which left the young actress virtually illiterate at age eleven. Her mother also controlled her finances, even when she came of age and was physically abusive both on and off-set, even physically assaulting her daughter in front of fans.

A new book, Behind the Big Screen: The Untold Stories of Bollywood’s Child Actors by Sunanda Mehta and Suchitra Iyer attempts to trace child actors who were popular in the 70s and 80s, but seemed to have faded into oblivion as they reached their teens and adulthood. The intention is not just to find out what they are doing now, but also to figure out how they handled their fame at such a young age and, more importantly, its abrupt departure once they entered adolescence.

Dilip Ghosh’s documentary, Children of the Silver Screen (1990) contains several such accounts of gruelling exploitation of child performers by film studios and ambitious parents.

Lalita Iyer writes. She is an Associate Editor at Outlook and the author of Aging (Un)Gracefully, The Whole Shebang, Raising Mamma and other books. @iyerground

@iyersuchitra @mehta_sunanda @castingbay @ghantaghartalkies

Read the full story 🔗 in bio.

#Bollywood #ChildActors #ChildStars #Childhood #FilmIndustry #Safety #MentalHealth

Every film finds its own heartbeat.
This one for Dabur, directed by the one and only@shekharkamble and produced by @sahil.jadeja & @noopsybot at @dreampunkfilms , reminded us that honesty in storytelling always shines through.

It’s rare to find collaborators who value casting not just as a process, but as an emotionand with Shekhar sir, it always feels like a shared vision.

Immense gratitude to him and the Dream Punk team for the continued faith and to my casting team led by@act_shubhi whose eye, commitment, and calm make every project stronger.
Thank you @wankhede_shubham @imkaranmishra @theshaktisinghrajput @harshittsahni @arihantjain_8 for bringing your instinct and integrity to the table, every single time.

@castingbay @act_shubhi #casting #adfilm #storytelling #acting #talent

Some films go beyond being just another project. They become experiences that stay with you. 120 Bahadur has been one such journey.

As a casting team, we are constantly searching for honesty, freshness ,courage in performance and this film gave us the incredible opportunity to bring together a cast that embodies all of that and more. We got to work with so many new and brilliant actors, both from India and China, each bringing their own world, culture, and energy into the story. Watching them collaborate, adapt, and grow through the process has been deeply inspiring.

A heartfelt thank you to @razylivingtheblues sir for his unwavering vision, trust, and sensitivity in shaping this story and to our amazing producers at @excelmovies@ritesh_sid sir @kassimjagmagia sir, @roo_cha ma’am, @sunitha.ram ma’am and @vishalrrbhai for their faith, openness to new talent and constant support throughout the casting process. Working with a team that truly values storytelling and performance above everything else is a rare joy.

This one reminded us why we love what we do ie discovering new voices, connecting worlds, and being a small part of stories that have the power to travel far.

Cheers to all the Bahadurs (the incredible actors in the film) you’ve truly brought this world to life.
@faroutakhtar @raashiikhanna @sparshwaliaa @ajinkkyadeo @eijazkhan @vivanbhathena_official @siwachankit @ashutosshh.0 @atulsingh4199 @brijeshkaranwal @devendra___ahirwar_ @idhanveersingh @digvijaypratap_25 @_verma_sahib_
-@sengsooming @marcus_mok
@fredyology @chienholiao

And lastly to my incredible team @amitinfinite @atulsingh4199 @thakurrish @jayendratripathisnone of this would’ve been possible without your relentless passion, patience, and eye for detail. You are the heart of this process, and the way you show up every single day — quietly, consistently, and with full sincerity — is what makes all the difference. Grateful to have you by my side on this journey.

#120Bahadur #CastingBay #CastingJourney #NewTalent #IndianCinema #GlobalStories #Gratitude #CastingLove #BehindTheScenes

Train journeys are always nostalgic and have a charm to them that is magical. This overnight journey has been a very pleasant one, which was perfectly concluded with the most lovely cup of Red Label Instant Masala Tea

Casting Bay’s latest commercial with @redlabel__tea

Production - @coconut_films
Director - @arjunchakradhar

Casting director -@act_shubhi @castingbay
Casting associate - @imkaranmishra @theshaktisinghrajput

Casting assistant - @harshittsahni

#CastingBay #NewProject #RedLabel #RedLabelChai #RedLabelMasalaChai

Some stories come to you as assignments.
And then stay with you long after the work is done.

Baramulla is one such film ,a story that carries the weight of truth, loss, courage, and the complex beauty of Kashmir and its people.

Casting for this film wasn’t just about finding faces
It was about finding lived-in emotions, silences, and small gestures that could hold the weight of the world this story inhabits. Every character, every face had to feel real as if they’ve walked these lanes, breathed this air, carried this history.

Immensely grateful to @adityadharfilmsand @dhar_lokesh for their trust, sensitivity, and unwavering belief in telling stories that go beyond spectacle
Stories that honour both the soil and the soul.
Collaborations like these remind us why we do what we do

@adityasuhasjambhale you are an honest storyteller and it was a delight to work with you and special mention to my buddy @aarshvorawho made the whole process enjoyable

Thank you @b62studios can’t wait to see the film