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"I Made a Promise to a Kid..."- Boman Irani Gets Emotional After The Mehta Boys Wins Filmfare Award_我的网站

尼基塔第三季

一 | Boman Irani has been a part of the film industry for decades, but at 66, the actor marked his directorial debut with The Mehta Boys, proving that age is just a number. And his hard work paid off well as the film won the Filmfare Award for Best Web Original Film: Critics at the Filmfare OTT Awards 2025. As Irani walked on stage to receive the iconic Black Lady from Abhishek Bachchan, the moment turned instantly warm and memorable. Abhishek, who was presenting the award, stepped down from the stage and walked towards the front row to greet Irani with a hug, before escorting him on stage. Beginning his acceptance speech, Irani joked that it might take him a while to finish. Playing along, Abhishek brought a chair onto the stage and placed it beside him, drawing laughter from the audience. The actor started his speech by saying, "I have no business being on stage here. I'm 66 now, debuting as a director. This is going to be a long speech. Take out your popcorn and let's enjoy this moment." He continued, "When I was a kid, I made a promise to an 11-year-old boy that someday I would direct a film. And that little boy's name was Boman Irani. And I just feel so stupid that it took so long. But that's fine. About 14 years ago, I decided to make my film when everything was going pretty well as an actor. I wrote a beautiful script, which I threw in the dustbin in the morning. And then I wrote a script which took me about 10 years to write. Because it's just a slice of life film, as they say. But slice-of-life films can be boring. And for that, I needed to study. Study the science of writing. It took me 10 years to do this. And it took me an eternity to sell it." View this post on Instagram A post shared by Filmfare (@filmfare) Irani added that he had to start from scratch to direct this film. "My students say,' If it took you so long and you got refused so many times. It was so difficult for you to get funding for casting. Then what about us?' I have this answer to all you youngsters out there. I have been acting for the last 35 years on stage and screen. But it does not necessarily mean that I qualify to be a director. Just because I've been acting for 35 years. You've got to start from scratch. You've got to pay your dues. You've got to work your way up, put that foot in the door and not shut up, so that somebody agrees to make this film." The actor also shared that Sujoy Ghosh came to narrate the story to him, but Irani wanted to direct it, instead of acting in it. And Ghosh gave away the film to him without second thoughts. "And I want to thank one more gentleman. His name is Sujoy Ghosh. He came to narrate this story to me. It was a one-liner. And I said that I don't want to act in this film, I want to direct it. He gave it to me for free without asking me a single question. Thank you, Sujoy Ghosh. It's very difficult in this day and age for people to have such a big heart." He concluded his speech by thanking his producer and his entire cast and crew. Besides directing the film, Irani also played a key role in it, along with Avinash Tiwari Also Read: Filmfare OTT Awards 2025: Boman Irani Walked The Red Carpet With His Family。《黑神话：钟馗》的实机操作视频公开了，照例得说点什么，可又没法剧透（因为根本没剧）。于是索性整理了游戏科学内部的一些工作原则，努力凑了十条，算是对过去从业的思考与回顾，也可看作对后续项目的提醒。关于如何设计和开发游戏，我很少公开聊。一是因为这个行业里比我专业、经验比我丰富的人很多，优秀新品更是层出不穷，而好游戏本身就是最好的教科书；二是游戏研发没有放之四海而皆准的做法，很多思路与方法，换一个类型，换一个团队，换一个项目，可能就不成立。所以这十条原则未必准确，也未必普适；它们大多来自过往工作的教训，也受到过许多前辈与书籍的启发。我想，既然发出来，也是一种自省与承诺，大家可以随时拿它们来对照，看看我们未来是否继续践行。

二 | 1、首先打动自己。无论何时，请把自己与团队当作最优先的目标用户。这是公司成立至今的价值观，我总是翻来覆去说这句有点拗口的话——“必须做开发者自己作为用户也理解、认可、喜爱的游戏。”这不单是情怀，也是理性的产品策略。如果你对正在做的东西缺乏非功利的热诚，你的直觉就会开始迟钝。

三 | 时间一长，大概率输给那些比你更乐在其中的人。

四 | 2、再找外部交集。打动自己，不意味着孤芳自赏。市场数据、用户反馈和商业上的可持续都很重要。只有组织活下来，集体认知才有机会成长，团队能力才有时间变强。呼应第一点，我想强调的是，对内容产品而言，先在外部找到与自己个性、趣味、喜好相近的人，通常比试图讨好所有人更高效。随着受众规模扩大，开发者与用户的相似度可能逐渐降低，但这个过程更类似从核心向外自然扩散，而不是一开始就在茫茫人海里碰运气。世界很大，没有谁真的独一无二。能深深打动自己的东西，往往也能打动世界上的另一群人。创作过程的每一处用心，都一定会被懂你的用户感受到。3、发现亮点，先于消灭缺陷。与其先想着如何征服不喜欢你的人，不如先尽力满足喜欢你的人。伟大的游戏也绝非面面俱到，这个世界存在太多的不可能三角。资源永远有限，完成度永远不够，目标之间永远存在取舍与矛盾。比“还有什么地方不够好”更重要的问题是：有没有什么体验，只有在我这里才能玩到？再往大一点说，一家内容公司存在的意义，也许就是让一部分人觉得：幸好这个世界上，还有人做出了这样的玩意。4、可体验的版本，胜过满纸雄文。

五 | 文档可以解释意图，数据可以辅助判断，会议可以统一认识，但游戏实际上更接近一种综合的、复杂的、甚至有些混沌的沉浸状态。内部判断产品风险时，我始终更相信真正跑起来、打起来、死上几次之后的感受，以及观察同事们在作为玩家时的真实反应。然后才据此去敲定某些拿不准的设计，或者放弃之前看上去牛逼的创意。

六 | 具体到每一次对外发布的实机视频，希望传递给大家的也是同一件事——“看到后，能轻易想象自己亲手玩起来的样子。”5、好玩是目标，也是底线。这一条就不展开了……总之如果内部版本不够好玩，那就再调查调查，反思反思，学习学习，迭代迭代，重构重构，再多玩玩其他游戏，嘻嘻。6、美无定式。没有一种风格永远高级，也没有一种信号永远刺激。再惊人的美学符号，反复出现也会失去最初的力量。美，更像是一种认真创造的陌生感。说到底，神经传导会适应，多巴胺奖励会消停，人会厌倦一再重复的事物，这是创作者永远逃不出的无间狱。前几天，我和佳骐（声音负责人）扯到这个话题，顺手编了句打油诗来比喻：美无恒美，法无定法。

七 | 多见易俗，少见易雅。他说，滚，两面都让你说了，狡猾。嗯，那个，反正，我要表达的意思是，或许不必追求找到一套万用万灵的美学公式，而是应该不断探索还有什么好的表达方式，其中既有技艺，又有新意。7、走投无路，提升密度。大部分时间里，我们其实找不到什么更聪明、杠杆更大的办法，去提升产品的竞争力。这个时候，在那些已经被验证的亮点上继续增加有效密度，通常不是一个坏选择。比如更细腻的粒子，更茂密的植被，更丰富的动画，更精确的打击反馈，更多样的妖魔鬼怪，更大的显存（bushi）……不是说无脑堆参数与资源就一定好，前提是这些内容的确是被验证过的亮点，而且依然能让用户感知到差异。

八 | 想不到妙手是游戏开发的常态，不妨先把每一步本手下扎实。

九 | 8、起点看最高，终点当领跑。对同领域的当家花旦们，最好如数家珍——哪里玩到昏迷，哪里气到爆炸，哪里不知所措，哪里眼睛哭花。然后去搞清楚——它们各自采用了何种开发模式、设计方法、制作工艺与技术标准。最后反复思考——什么能学，什么学不得，什么要虚心，什么要创新。游戏并非必需品，深入体验与研究标杆的另一重价值，是让我们对这个品类三五年后的及格线会有多高，大致心里有数。

十 | 取法乎上，把对标杆的认知当成制作自家demo的起点，绝不是坏事，哪怕暂时高山仰止。

十一 | 但是，如果长期目标是“做到和某某差不多”，有点危险。尊重标杆，学习标杆，是为了最终建立自己的尺度。想登顶，想一览众山，想创造前所未有的新标杆——这不是自不量力，是宝贵的冲劲与志气。9、难能，可贵。

十二 | 充分竞争的成熟市场，鲜有低垂的果实。

十三 | 任何容易解决的问题与需求，要么不存在后来者的机会，要么很快会被竞争对手挤满。这一点我有切身体会。刚创业时，以为小公司只要选一个自己理解的赛道，做得比大厂快一点，玩法、剧情、画面、声音什么的有点小特色就够了。但事后看，这种所谓高执行力+低成本创新带来的价值微薄而脆弱，用户也很容易闻出这种速成产品的敷衍味道。一直做相对容易的事，反而惶惶不可终日。所谓护城河的本质，便是拥有难以被轻易取代的价值。当我们被某样事物深深打动时，它往往是稀缺的、非凡的、来之不易的，而人们似乎天生就会被“哇这是怎么做到的”的魅力所吸引。2019年的公司年会，我用八个字总结游科前五年的状态：东搞西搞，投机取巧。也是在那年，在公司原来价值观“打动自己”外，又加了四个字——知难而进。10、理念是廉价的，但贯彻理念的行动是可贵的。知行合一不是什么新鲜道理，但我加一句暴论：很多时候，行是知的前提。

十四 | 因为咱们脑中的理念很有可能是肤浅的、偏颇的、错误的，只有贯彻理念的行动与现实发生了真实的碰撞，才能看清：这个世界与我们原先想的到底哪里一样/不一样。有时撞得太猛，世界太硬，把我们原先的理念撞成了一地碎片。

十五 | 没关系，正好一片片捡回来，慢慢拼出新的模样。

十六 | 然后，再撞一次。

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