The interview which appears below, was originally published on Screen in October 2003. ©The rights to this material are reserved to the owner. If you have any concerns or comments, please send an email to info@rahmaniac.com.
My problem is that I get bored very quickly. I’m an impatient filmmaker and want to experiment with several ideas at the same time. Once I’m struck with an idea I cannot wait to execute it. And once I begin shooting, I cannot rest until I’ve completed the film. I cannot understand how directors remain obsessed with one film for one, sometimes two years. I marvel at their capacity to sustain the intensity and passion.
I seldom like a film that I’ve made after it is completed. I can only see the mistakes. For instance I don’t think that I can make Rangeela today. I don’t have the innocence required for the film. One changes with times. Circumstances change you. A few years ago, I was fascinated with the pattern of filmmaking. Today, I’ve developed respect for the pure content in the film. My latest film, Main Madhuri Dixit Banna Chahti Hoon is a simple story told in its purest form. There are no gimmicks, no technical wizardry. I guess I have come a full circle. After exploring all the technical temptations, I have the confidence to appreciate simplicity.
According to me MMDBCH is the most challenging project of my banner. This should silence my critics who keep harping that there is too much violence in my films. Not that I’ve ever agreed with their accusation. My films never project violence graphically. The truth is that I hate bloodshed. What makes the audience angry is the impact created by the suddenness and I’m not going to change that.
One can never be sure of the audience’s reactions. Till the film is exhibited in the cinema halls and gets endorsed by the cinegoer, the director is uncertain of his projection. He may have done his best but if he has failed in communicating his message, the audience is not going to appreciate the film. It calls for certain chemistry, a silent understanding between the audience and the director. Before Rangeela I hated shooting song sequences. Then I saw Mani Ratnam’s Roja and was fascinated by the visual impact of his music and choreography. Mani has been a strong influence on my song picturisations.
So has A.R. Rahman. I was mesmerized the first time I heard his music. I’m mesmerized by his level of energy. After Roja I went to him and insisted that he do Rangeela. Until then, Rahman had not done Hindi films and was hesitant but I hounded him till he said yes. When he finished the recording, I could not sleep for three days because I didn’t know how I was going to project his marvelous orchestration. That’s his magic. He gives you the best and then he pushes you to give your best. You have to deliver because he commands quality. That’s why he remains special.
On the day we were to shoot the exotic song between Jackie and Urmila for Rangeela, I told Urmila that she needed to celebrate her beauty without apology. The overt sexuality in the dances that came for so much praise is the conviction of the actor. The camera captures her sensuality without inhibition. That is why even the conservative audience had been full of praise for the choreography.
I cannot predict how the audience will react to Main Madhuri Dixit Banna Chahti Hoon. The film raises disturbing questions for those struggling in show business for years. And yet, you cannot call it either an optimistic or a pessimistic film. There cannot be an alternative ending to the story. This is the only realistic solution to those obsessed with their dreams.
I’m a dreamer myself. Sometimes those close to me say that I take great precautions to hide my true self. I don’t agree with their assessment. I think I wear my heart on my sleeve. I express myself freely and live for the moment. When I watch myself in circumstances I don’t enjoy, I’m mentally editing out the uncomfortable areas. That gives me my sense of balance. When I was young, I saw Sholay 27 times but I don’t think I ever wanted to join films. When I went to college, I used to watch a lot of Shyam Benegal films and they had a deep impact on me.
Interestingly, the first time I heard the word director was in reference to Benegal. I was watching Nishant with my uncle and was fascinated by a particular moment in the film. When I expressed this to my uncle, he said, “That’s the director’s touch.” The words stayed in my subconscious. And when I went for films next time, looked out for more directorial touches. There were plenty in Kalyug. It’s my favourite film full of dramatic moments and strong visuals. Company is nothing but a tribute to Kalyug. Only while Shyam Babu delves on an industrialist family, I have delved on the underworld.
In recent times, I have liked Dilwale Dulhaniya Le Jayenge but I’m not sure if I can make a film like that. I’m too restless for mulling over so much on love. I liked the intensity and passion projected in Devdas but again, I’m not sure if I can ever make a film like that. I’m not sure if I have the patience. Today, I’m not even sure if I’m that obsessed with holding on the megaphone.
It does not matter who directs the film as long as my banner is producing it. I enjoy being a content generator. I enjoy stimulating discussions. My struggle is not to excel but to do what I believe in. To make films that my heart dictates and to hell with the formulas!
