Nearly three decades after the release of Dilwale Dulhania Le Jayenge (DDLJ), filmmaker Karan Johar has opened up about the surprisingly modest conditions under which the Bollywood classic was made. In a recent appearance on Jay Shetty’s podcast, Johar revisited his time as an assistant director on the 1995 film, offering a candid account of the challenges and camaraderie that defined the shoot—especially during the Switzerland schedule.
Minimal Crew and Maximum Effort
Johar described his year-long experience on DDLJ as the most valuable learning phase of his career. Far from today’s large-scale productions, the DDLJ unit comprised just 21 people traveling together in a single bus. According to him, they would stop at scenic spots selected spontaneously by director Aditya Chopra and begin filming immediately, often with no prior scouting.
Because of the tiny crew, everyone pitched in to make the shoot happen. Shah Rukh Khan and Kajol weren’t just acting—they were also helping carry equipment up mountains and setting up shots. “Literally everyone was a team,” Johar recalled, pointing out how vastly different the working conditions were from today’s film sets with large teams, stylists, and support staff.
Kajol’s Behind-the-Tree Costume Changes
One of the revelations from Johar’s interview was the lack of privacy and resources available to the actors. With no vanity vans or proper changing areas, Kajol often had to change into her sarees behind a tree. Shah Rukh Khan, too, changed outfits wherever space allowed. Johar remembered that there simply wasn’t enough money to afford more—let alone hire professional stylists or bring along a full team.
He further revealed that during the shoot of the iconic song Tujhe Dekha To, the crew faced an unexpected problem—none of them knew how to tie a saree properly. With no one else to turn to, Johar relied on his mother’s memory of how to drape one, resulting in a somewhat improvised look for Kajol that day.
Makeshift Styling by the Team
The constraints didn’t end there. Kajol’s hair and makeup artist couldn’t secure a visa for the foreign schedule. As a result, her mother, veteran actress Tanuja, stepped in to handle her makeup. Meanwhile, Johar himself would brush Kajol’s hair before scenes. Recalling these moments, he noted how filmmaking in those days was filled with collaboration, hustle, and a genuine sense of teamwork.
Reflecting on how film production has changed, Johar noted the stark contrast between past and present practices. He commented that today, a lead actor is typically accompanied by a full entourage—stylists, managers, publicists, and assistants. Back in the 90s, however, it was just the actor and, sometimes, a parent for support.
Despite the hardships and lack of infrastructure, Johar emphasized how enjoyable and fulfilling the experience was. He described the environment on the DDLJ set as one filled with camaraderie and passion, saying it was “fun” compared to today’s more structured and often “boring” setups.
Directed by Aditya Chopra and produced by Yash Chopra, Dilwale Dulhania Le Jayenge starred Shah Rukh Khan and Kajol in roles that would go on to define their careers. Known for its iconic dialogues, timeless music, and enduring popularity, the film remains a cultural milestone in Indian cinema.
Minimal Crew and Maximum Effort
Johar described his year-long experience on DDLJ as the most valuable learning phase of his career. Far from today’s large-scale productions, the DDLJ unit comprised just 21 people traveling together in a single bus. According to him, they would stop at scenic spots selected spontaneously by director Aditya Chopra and begin filming immediately, often with no prior scouting.
Because of the tiny crew, everyone pitched in to make the shoot happen. Shah Rukh Khan and Kajol weren’t just acting—they were also helping carry equipment up mountains and setting up shots. “Literally everyone was a team,” Johar recalled, pointing out how vastly different the working conditions were from today’s film sets with large teams, stylists, and support staff.
Kajol’s Behind-the-Tree Costume Changes
One of the revelations from Johar’s interview was the lack of privacy and resources available to the actors. With no vanity vans or proper changing areas, Kajol often had to change into her sarees behind a tree. Shah Rukh Khan, too, changed outfits wherever space allowed. Johar remembered that there simply wasn’t enough money to afford more—let alone hire professional stylists or bring along a full team.
He further revealed that during the shoot of the iconic song Tujhe Dekha To, the crew faced an unexpected problem—none of them knew how to tie a saree properly. With no one else to turn to, Johar relied on his mother’s memory of how to drape one, resulting in a somewhat improvised look for Kajol that day.
Makeshift Styling by the Team
The constraints didn’t end there. Kajol’s hair and makeup artist couldn’t secure a visa for the foreign schedule. As a result, her mother, veteran actress Tanuja, stepped in to handle her makeup. Meanwhile, Johar himself would brush Kajol’s hair before scenes. Recalling these moments, he noted how filmmaking in those days was filled with collaboration, hustle, and a genuine sense of teamwork.
Reflecting on how film production has changed, Johar noted the stark contrast between past and present practices. He commented that today, a lead actor is typically accompanied by a full entourage—stylists, managers, publicists, and assistants. Back in the 90s, however, it was just the actor and, sometimes, a parent for support.
Despite the hardships and lack of infrastructure, Johar emphasized how enjoyable and fulfilling the experience was. He described the environment on the DDLJ set as one filled with camaraderie and passion, saying it was “fun” compared to today’s more structured and often “boring” setups.
Directed by Aditya Chopra and produced by Yash Chopra, Dilwale Dulhania Le Jayenge starred Shah Rukh Khan and Kajol in roles that would go on to define their careers. Known for its iconic dialogues, timeless music, and enduring popularity, the film remains a cultural milestone in Indian cinema.
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