Longinus Fernandes is a celebrated Bollywood choreographer whose work has earned international acclaim. I first met him during Season 1 of Jhalak Dikhhla Jaa, where, as Shveta Salve’s choreographer, his innovative routines helped her become the show’s first runner-up and earn the title “Chhote Parde Ki Madhuri Dixit.” Known for bringing freshness to every performance, he has choreographed films like Border, Page 3, Barfi, and the Oscar-winning Slumdog Millionaire. Admired by leading stars and honoured with the Fred Astaire Award, Longinus remains one of the most respected and humble creative forces in dance today. In Conversation with Longinus Fernandes, Newsband brings to you interesting behind the screen stories.

Q: Between Hollywood and Bollywood, which do you prefer?
I admire Hollywood primarily for its precision. There is discipline and exactness in the way they execute choreography that is truly commendable. Every movement is refined and thoughtfully structured. That said, Bollywood is steadily evolving. Performers like Hrithik Roshan, Tiger Shroff, Shahid Kapoor, and Varun Dhawan are raising the bar and setting new dance standards. I hope that one day Bollywood’s style and creativity will inspire Hollywood even more. Indian music has already crossed borders—songs like “Chamma Chamma” featured in Moulin Rouge, and “Jhoom Barabar Jhoom” appeared in The Second Best Exotic Marigold Hotel, which I had the privilege to choreograph. Bollywood is home, but Hollywood’s commitment to finesse is something I deeply respect.

Q: How do you see the evolution of Bollywood choreography?
Dance in Indian cinema has transformed immensely over the decades. Legendary choreographers such as Hiralal, Sohanlal, and Satyanarayan created timeless routines that remain benchmarks even today. Songs like “Hothon Pe Aisi Baat” from Jewel Thief and “Aaj Ko Junli Raat Maa” from Talaash showcased how dance could beautifully complement storytelling. Classic choreography seamlessly advanced the narrative.

Q: Who are the iconic choreographers you admire?
Saroj Khan remains unparalleled. Her work in Devdas, especially “Maar Dala” and “Dola Re,” was extraordinary. She brought authenticity, grace, and emotional depth to every performance. Her choreography was aesthetic and original, and many of us learned what true cinematic dance means by watching her work.

For innovation and vibrancy, I look up to Farah Khan and Ahmed Khan. Songs like “Rangeela Re,” “Ruk Ja O Dil Deewane,” and “Pehla Nasha” introduced a fresh cinematic language. They presented something audiences had never imagined before. Ganesh Acharya is another brilliant choreographer—he connects with the masses and can make any performer dance confidently while looking their best.

Q: Which Bollywood actor do you consider a great dancer and role model?
When I worked with Ranbir Kapoor on Saawariya, he was just starting out. Even then, I sensed he had the spark of a superstar. The title track required him to attempt movements that were completely outside his comfort zone. The dedication and effort he put in were remarkable. He immerses himself in his characters so naturally that even complex choreography appears effortless.

Q: Who inspires you most among filmmakers?
In Bollywood, Sanjay Leela Bhansali is truly inspiring. His films are grand, elegant, and meaningful. Working on songs for Saawariya and Guzaarish was unforgettable. He elevates dance visually, making every frame look magical.

In Hollywood, Danny Boyle gave me an opportunity of a lifetime. His appreciation and encouragement remain close to my heart. Working with him was both enriching and joyful—full of creativity and camaraderie.