No, not really. Composition is almost like editing. The DOP will light up the shot and create the necessary mood. And at the most, I can say, as a viewer, 'I don't like this, I don't like that, zoom in, zoom out.' But eventually he's creating it and I'm just reacting to what I'm seeing -- because he might not have the perfect emotional quotient of what I'm trying to create, or the scene in terms of the screenplay.

You'd said about Sarkar once that it was a film you'd designed for the galleries. Is Sarkar 2 also like that?

I don't know if I said this, it doesn't sound like me. Though I say a lot of things which I don't mean. Or I mean it at that time, to be more fair. But actually, sometimes I do say things just for effect -- and this could be one of those.

There are only two kinds of films. In some films, the subject matter doesn't let you take it less seriously: you feel very strongly about the subject. And in some films you start off lightly and you work on it alongside many projects and people close to you tell you it's fantastic, and you lose the objective of that.

But frequently, in my experience, if you know what you want to do in the end of the film, it very rarely goes wrong.

Sarkar shared the plot of The Godfather. Is Sarkar 2 like Godfather 2?

No. It doesn't have any connection to Godfather 2 or 3. It's just a logical progression of what could be happening to the Nagre family after the end of Sarkar.

The last shot of Sarkar indicates that Abhishek has taken over -- the shot with him in the darkness, and Sarkar outside. So he's handling the business and letting his father have the limelight, and Sarkar has developed the kind of belief in his son's ability to take care of things.

Also read: 'I felt bad when Veeru turned Heero'

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