Deepika Padukone’s ongoing dispute with Sandeep Reddy Vanga over her exit from the film “Spirit” has brought renewed attention to issues surrounding contractual agreements in Bollywood. The Deepika Padukone fallout with Sandeep Reddy Vanga and Race 2 controversies illustrate recurring tensions between creative partnerships and business expectations within the film industry.
Dispute Emerges Over Filming Commitments on ‘Spirit’
Reports surfaced that Deepika Padukone and filmmaker Sandeep Reddy Vanga experienced a significant disagreement during the production phase of “Spirit.” A source revealed that the central issue revolved around Deepika’s shooting schedule and her contractual conditions. According to Bollywood Hungama, the actress, through her agency, insisted on modifying the terms if the shoot extended beyond an agreed limit, specifically demanding additional payment for every shoot day beyond 100 days as stated in the original contract.
“Sandeep Reddy Vanga got the shock of his life when Deepika Padukone refused to shoot for more than 6 hours a day for Spirit. That’s not all, the actress, via her agency, also started to demand an amendment to the contract. Their point of contention was simple – if the shoot extends beyond 100 days, Deepika will have to be paid extra for every single day of shoot beyond the commitment on paper.”
—source
The dispute led to Padukone walking away from the project, opening debates on boundaries regarding actors‘ working hours and compensation, especially in high-stakes, big-budget films.
Echoes of Past Controversy: Race 2 Exit Revisited
This is not unfamiliar territory for Deepika Padukone. More than a decade ago, she departed from the cast of “Race 2” after working on set for only a short period, prompting a public outcry from producer Ramesh Taurani. The producer went on record criticizing Padukone’s actions, emphasizing that he had never encountered such behavior in his lengthy career.
“I have been a part of the Hindi cinema industry for 25 years. I have made several blockbusters. I have worked with famous actresses like Aishwarya Rai Bachchan, Katrina Kaif, Vidya Balan and Kareena Kapoor. But I have never faced a situation like this before.”
—Ramesh Taurani, Producer
The fallout with Taurani escalated when Padukone’s shifting film commitments reportedly caused disruptions to the project’s shooting schedule. Taurani stated that he had rescheduled the entire film with the involvement of filmmakers like Karan Johar to accommodate Padukone’s earlier date issues, yet she exited after only six days of shooting, leaving the film’s cast and crew frustrated.
“Earlier, in October (2011), we had to change our schedule since Deepika had date problems. This was due to her film with Ayan Mukerji to be produced by Karan Johar (Yeh Jawaani Hai Deewani; 2013). At the time, I had spoken to Karan and worked out a schedule that would help Deepika manage both projects. Now, when everything is in place, she just walks out after six days of shoot. What can I say? We are left with no choice. Our directors and the other actors are extremely annoyed with her.”
—Ramesh Taurani, Producer
Padukone had initially committed 90 days to “Race 2,” distributed over several months. The production team tried to reassure her that none of her reserved time would be wasted, hoping to keep her involved.
“She gave us 90 days – fifteen days in February, 45 days in May-June and 20 days in July. We had assured her that we wouldn’t waste any of her dates.”
—Ramesh Taurani, Producer
The day Padukone’s potential withdrawal became public, Taurani received calls seeking confirmation. According to him, Padukone’s manager eventually informed him that she would not continue, citing her involvement with a significant Hollywood project.
“People kept calling me asking whether Deepika was out of Race 2. I was clueless. I called her and asked her. She simply said that she would come to my office by 5 pm with her new manager to work out everything. At around 3 pm, she called to say that she wouldn’t be able to keep the appointment. However, her manager would be present on her behalf. Finally, when the manager arrived, he simply told me that Deepika wouldn’t be able to do our film. And that’s because she is doing a major Hollywood project. Now imagine!”
—Ramesh Taurani, Producer
Taurani made efforts to meet Padukone directly to resolve the conflict, but his attempts were reportedly unsuccessful. He felt the situation was handled without remorse or apology from Padukone, further fueling frustration among the production team.
“I went to Kurla where she was shooting. We tried to reason it out with her. But she refused to even listen. Forget about anything else, she did not even apologise for her actions. She seems to have no remorse.”
—Ramesh Taurani, Producer
However, a close associate of Deepika Padukone later defended her stance, explaining the repeated changes in the shooting schedule undermined her ability to meet film commitments. Apologies had been conveyed to the producer, according to her friend.
“Constant delays are the reason Deepika can’t do Race 2. When the first delay happened, she adjusted her dates and shot for two days. But then again, she was informed that the dates were being changed. She would have liked to do the film but she couldn’t accommodate the new set of dates. She has conveyed her apologies to Ramesh Taurani. She had liked the script but unfortunately is not able to juggle her dates any longer.”
—Close Friend of Deepika Padukone
Escalation to Industry Organizations and Eventual Resolution
In response to the impasse, Ramesh Taurani reported Padukone’s exit to the Association of Motion Pictures and TV Programme Producers (AMPTPP) and Cine and TV Artistes Association (CINTAA), expressing disappointment at what he considered unprofessional behavior.
“I had no choice but to file a complaint against her in the AMPTPP and CINTAA. I am deeply saddened by this unprofessional behaviour.”
—Ramesh Taurani, Producer
The involvement of these industry bodies prompted new negotiations. Eventually, Padukone agreed to rejoin the “Race 2” project but only after her terms were accepted. These included not allotting new dates for filming, having control over choices of designers and makeup artists, bypassing intermediaries when communicating with directors Abbas-Mustan, and being notified early about foreign shoots and participation in the film’s promotional schedule. With these guidelines in place, production resumed, and the conflict was contained through formal compromise.
Recurring Patterns Raise Broader Contractual Questions
Comparisons between the Deepika Padukone fallout with Sandeep Reddy Vanga and Race 2 controversies underscore a recurring struggle over clear contracts and creative flexibility. Although the particular circumstances may be unique to each project, the disputes share common ground in disputes over schedules, communication, and compensation terms involving stars, producers, and directors. Deepika Padukone, whose craft and reputation have only grown over the years, finds herself repeatedly at the center of such friction, illustrating the complexity of big-budget filmmaking in India.
The latest developments have triggered industry-wide reflection, as debates about actors’ rights, production obligations, and professionalism resurface. With Deepika Padukone’s involvement and high-profile collaborators like Sandeep Reddy Vanga, Abbas-Mustan, Ramesh Taurani, and Karan Johar, these incidents highlight broader systemic tensions. While Padukone has maintained a strong standing as one of Bollywood’s most reliable leading women, these very public disagreements signal the urgency of well-defined agreements and transparent communication between all parties involved. As casting changes and project recalibration become more common, the industry continues to adapt its approach to contracts and partnerships.
