Karan Johar Interview With Baradwaj Rangan | Wide Angle

[Applause] [Music] hello karan and welcome to galata plus hello next year it's going to be 25 years since kuch ko chota released since you became a filmmaker yes and in 25 years you've made only six feature films does it feel that you've underperformed as a director underperformed in terms of numbers not not creative i'm not talking creatively on numbers or whatever you're talking about in terms of the number of films no i'm also talking creatively i would like to say i've underperformed both as numbers and quality there's no justification really because if i wanted to i could have done so much more but genuinely the reason why i made fewer films was because when i lost my dad in um in 2004 um i was had done kabhi khushi kuch kuchota and and kaluna if you notice in quick succession toronto i have not directed the film but i was very much a creative part of that journey so those happen really fast if you remember the real gaps came right after that is because i inherited a studio a production house i could call it a production house at that time which i needed to expand and i because i was the single fulcrum of the creative energy within my organization um i had to do a lot of work there was no support that we had today we have project development teams you know you have people to support in those days it was just you were the one of your decisions and then i had a poor method the ceo was handling the finance administration and legal stuff we were just two of us you know kind of like it seemed like a startup all over again it seemed like it was always my dad who did everything we were just like i was just created so a lot of the years went in doing so much of the work that i had never done before i was never trained to do it my father really spoiled me silly and he gave me everything on a plateau and i was like i really missed that support and i had to create that support for myself so that's why i couldn't make very many movies but now i realize consciously and again again between 2016 that it was an external issue i prepped tax for nearly three years right and then the pandemic hit and i couldn't make it and it was a very very very sad and shattering moment for me at that time because i put in my heart soul yeah into the into the prep of that film and then the pandemic hit and it just seemed impossible to mount that film at that time so i quickly developed rocky raniki pram khani which is what i'm directing right now but i'm ready to direct even next year like rocky rani releases february i'm going on the sets in march that's my plan and i'm going to go one after the other now i'm turning 50 this may buddy and i by the time i'm 60 i want to make another seven movies nice in this decade i want seven movies directed by me now why i say i'm underperformed creatively because i have to me i don't really ask an audience that some could love it some could hate it some could be indifferent to my cinema and i'm completely okay with all three i feel personally i haven't made that film that i can proudly say should and deserves to be in the archives of indian cinema we have an archive supposed to make a list of 100 archived special films across decades i don't think any of my films deserves to be on that list and i'm not saying this because i'm trying to eat humble pie or be self-deprecating it is what i believe the truth is there is no lagaan i've made in my opinion one of the best hindi films there's no satya i made again one of my most like i have a lot of love for that film similarly there is no randema santi that is a socially relevant film that moved mountains yes i came close with trying to touch upon an issue with my name is khan i feel it's a beautiful film but i still don't feel that i i went exactly where i should have so anyway that's the truth that underperformance is something that i believe very strongly has been my report card am i feeling uh dejected delusional uh am i at all bogged down by this fact no inspired and completely raring to go into my 2.0 2.0 version of my life right i would actually disagree with that because i think you actually moved from the current george that you were and also the era that was they liked all that melodrama they liked all that all that kind of stuff and then slowly things changed right i thought you brought a beautiful balance to eden yeah i just found it a wonderful combination of the old bollywood and the new bollywood and which brings me to this question is like your your core has always been indian that's something that that i think very very few directors have today otherwise you you're watching a little bit of uh gravitation towards a more westernized kind of film filmmaking do you think that's why uh a movie like pushpa is doing so well because people crave that kind of thing they couldn't get so it's strange because i think hindi cinema began this type of syntax you know with mr butcher you know saleem javed created this anti-establishment an angry young hero also wrote in many movies very strong roles for the women uh strangely even the movies where uh the men were leading it and that was the norm in those days the women all had jobs in movies which actually very strangely heroines never had jobs assigned in movies they were just there like they were decorative pieces and it used to bother me even then but in saleem javed's work they were always they always had a profession see him already you know and so many even basanti like you saw what she did yeah and she was like a job like it was an assigned job which was strange it's strange for me to think that it's it's something novel but it was then they created the this character the syntax of this mass masala packaged hero who walked in broke a few things said dialogue dialogue bazi all that we ourselves changed tied in the 90s because it happened with surat majatya's in many parks slightly in 89 going to hamapkon in 94 del valle dulania in in in 95. 97 98 right up to devdas in 2001 our hero became a lot more emotional vulnerable he was weeping in every climax he wept and wept and wept and wept he didn't fight anyone he just wept so it was aditya chopra it was me it was bansali that made the hero vulnerable they took the the whatever and we gave a lot of empowerment to the female characters of course the politics of questionable if you think of the wokeness era that we live in today but the roles were strong for the women then we went into a phase where the year 2001 happened and then we realized that the syntax of cinema should be new age because dilchata represented the millennials of that time and nagan broke cinematic boundaries chandranibar was in that year but yet it had gaddar and kabhi kushi but we didn't look there we looked like all the awards and rewards went together and uh dil chata and lagan rightfully they deserved it then we realized that randy basanti came that is a mean per game chakra india came my name is khan came after that and i was like everything is new 8 cinema it's only in 2010 when dabang came and you realize that dabang is representative of that mass hero that we haven't done but yet by then we had lost filmmakers who could actually do that so in the meantime one are talking about the evolution of hindi cinema in telugu cinema they had held on to the syntax that we had possibly created in the 70s held on to it worked over on it held onto it so strongly so they had attack syntax alive till today till pushpa hindi cinema is starved of that syntax we still have an audience that loves it we still love the entry the song sequences the dialogue bazi the tashan between characters we love all that but nobody's doing it rohit shetty probably is the only person who does it so when rajamouli does it in his way you're swept when sukumar does it in his way we are swept you know when al arjun is already a satellite superstar now he's a pan india star it's safe to say he's probably the biggest star today because he's cutting across all audiences you are absolutely right when you say we are starved for that syntax we don't know how to do it filmmakers and i'm not saying that's the wrong thing it's a bad thing it's just not a thing anymore i cannot find a director who has this and pulls it off with commercial narrative with narrative right you'll get the commerce you won't get the narrative you'll get the punches but you won't get the flow of the film you know you can't eventually get everything you know rohit many a time has hit that combination right you know you get the combination of creating that hero and giving him a narrative he's done it in simba he's done it in suriman she's done it time and again you could love his cinema not like that's your program but you can't deny the box office i mean of his movies we need many more such filmmakers and go back to the fruits of hindi cinema where did it all begin where did that love start from right and why have we started now trying to make edgy thrillers that have western syntaxes or trying to make films that are layered and layered and layered and layered and like you know and i know that i myself am making those movies nothing wrong with that but now you do have a digital uh a platform for anything that perhaps may not find theatrical love you have platforms and platforms to support your content so make all the stories you want but understand if you want the big audiences to come into those massive theatres across the country then you've got to think big you've got to think the syntax of commercial mainstream cinema and you have to do that with a certain flamboyance and a plum that seems organic and real and not forced three big hits after the the you know the theaters opened have been gangubai suryavanshi and pushpa they are very much in the dialog bazi indian kind of mode so are we seeing maybe change in the ecosystem where a geranium would go to an ott platform whereas the theater audience would go to watch these kinds of films absolutely if you go right in the middle you will land in the middle your content sometimes could be neither high concept with scale or big eventful if you're going in between then your business will be in between whatever it's in between it could be anything could be all the other sub-genres you know right you want to do a quirky thriller you want to do a um slice of life film uh you want to do um a love story that doesn't have skill but that has conversational like a conversational love story you're talking about a niche horror film you're talking about many i'm talking about these are what i call the other genres many of these genres and if you have it and understand your business may not go to that extent you can similarly say theatrically it's your prerogative nobody can take that away from you but you should think twice for example let's just see a film has to have that connect in that made to this country like kashmir files is not made on the budget like a lot of other movies but it's probably going to be cost to profit the biggest hit of indian indian cinema i read um uh box office india and they said that such a movement hasn't happened since just santosh yeah yeah you know since 1975. and i'm like you've got to acknowledge that there there is something that is connecting with this nation and academically you have to watch it you know you have to watch it to absorb to learn from it that look there is this movement that has happened it's no longer a film it's a movement you have to understand that does your film have that what it takes what you're writing you make what you want make any film you want stories must be told but understand it's not wrong if it needs to go straight to a digital platform you're still going to get your viewership when garaya was seen deepika shakun and me we realized this film has to be a digital film because theatrically it may not do the numbers you'll get a report card and then you grab away from the people who will have loved it and put it on a pedestal you could have it had polarized reviews and polarized responses but i feel like that polarization would have been a conversation because it had been annulled by a box office number right at least today you play on that polarization you didn't like it i liked it he didn't like it she loved it let's have a conversation the moment i gave you a report card a number oh i did x number you're like floppogi yeah once it's a flop even the polarization conversations just go out of the window why should you allow that for example there are such movies who have performed you know like say there's a film that's done very well on netflix called seen may not have i don't know but it's loved on netflix you can it's already you can call it a success right so that's why i think filmmakers storytellers have to be very careful with what they put out hotstar dropped the film called a thursday done very well i can check all it's on all the charts doing very well would it have done that same number may not have theatrically so they're very good you're getting the love getting the applause you're getting the recognition you call it a success and move on there's no report that theaters give you a report card over here you can't run away from now going back to the question of you know you want to do more as a director you are on television you're this host you're doing all these other things but you still consider your primary identity as that of a filmmaker yes yes absolutely everything else is just pocket money okay i do a lot of those things for the love of making the money yeah i mean i don't want to lie and say i'm doing it because i'm really passionate about judging a reality show of course i'm good at at being somebody who can offer my judgment but it's also this that decision is driven commercially i can't start telling you that i'm really there to you know understand the talent of the world or the universe of course you gain a lot of perspective when you watch it but you're also doing it commercially and that is true for anyone who does these things right hosting television shows performing at live events is anybody doing it for the craft and art of it no you're doing it because it's a subset of what you can make you know we are here to make the money to leave a legacy for our children or have a lifestyle that you used to why should you be apologetic about it so i'm like yeah if it's sometimes it you're driven by various things but do i make a movie for money no that is something i will never do i may make money off it and that's great but is that my only reason to make a movie not at all right i believe make all the money you want through these other subsets but keep the purity of creativity intact when it comes to your work but speaking mentally as in as a mental space when all of this is kind of happening does it affect the filmmaking because it's like not in the sense of it's going to take that much more time to develop a script or you may feel very tired after like judging a reality show you might not have something you know that kind of stuff can ask that buddy and um i have given that a thought uh all i can say is when my mind is ticking my mind is ticking okay so when my mind is occupied with things i'm actually more productive the moment you make me do one thing i will write the worst thing i would be uninspired and i would i need to be on a treadmill in this life if you make me static i will not be able to be creative or not be able to be productive right it doesn't work with me so the reverse happens you send me to the mountains to write a script to a really quiet area and say you have three months right nothing will happen you make me jam pack my day and i'll come out with five ideas at the end of the day it's just the way i function i'm not saying that i can multitask time management is a skill set i have i'm not saying any of the above i'm just saying that when i'm on a non-stop roll is when i can actually roll what exactly is in your definition a pan-indian film every film that is made big in one language doesn't necessarily have to be dubbed in five other languages you have to see what is the cultural context of your film what is the syntax of your film is it something that a telugu audience tamil audience malayalam audience conned audience will like there are some bigger larger-than-life set-piece cinemas with that with the with the tonality of emotion that is universal baahubali can connect to you no matter which part of the country you come from but not every film will like i'm telling you honestly i'm making rocky or running in my beliefs that should be remade but it should not be dubbed in five languages it is meant for a hindi audience and the hindi speaking diaspora or people who may watch it who don't understand hindi but that might be a niche so should i be dumming this in telugu tamil no but the story is such that i believe a strong name was telling in fact uh my friend rana and i told him i said this film you should actually make you know you i'll say share the content with you the screenplay with you it's a very the concept is such that i'm sure will work as a telugu film it'll work as a tamil film could work as any language film because it's got a very simple one line that actually beautifully translates across the nation but this one syntax and this one's a conversational quality is very based in the north of this country and you know it should definitely only be a hindi film i believe that when every film everyone is dubbing it because it's become a fashion it's not going to work but when you say that you're giving it to rana to make it in telugu or you're giving it to somebody else to make it in tamil or whatever it is doesn't that automatically make your film something that connects across india yes but not with the way i've treated my subject it needs an adaptation right okay right okay so it won't it won't be the exact same thing you need to adapt there are so many multiple films that we buy rights for you adapt it yeah yeah you know not every film can be made you can't serve this dish in the same way right you have to the cultural context will be different if you make in another language because this is my film is deeply uh immersed in two cultures a punjabi culture and bengali culture so obviously when you adapt it and make it in telugu you'll have to then do it accordingly right right now ajit thakur uh who's the ceo of the telugu app aha yeah he said that you have to make a film today that appeals to the rickshaw driver and the man who owns an audi that's when true success happens is that something you believe in he's talking about cutting across all demographics pretty much saying the same thing right but you have to know that while the while you can say this uh was the rickshaw driver watching movies ever he may not be you have to cut across to that avid film lover right who's watching every movie or watching the good movies you can't just say that i want from this demographic to that demographic because maybe this is never gonna never watch his movies then why am i going to make that he's not going to be interested i need to make movies for people but there's a base of x amount of people that give that blockbuster physique you do the data okay these many people stepped out to see bahubali biggest hit in hindi 512 crores that base should at least come and now add to that base that's our desire for every big film that comes out first appeal to that base don't go looking for audiences that you never had look for that base that will that all stepped out in abundant numbers to watch that film they exist today they are that base but there are certain audiences that are not going to watch your films right classical indians not i think movies are not that thing or maybe hindi cinema is not the thing there are so many of these gen z kids and all they don't watching the movies they don't care and it's sad you know it's sad because it's such a part of our culture it's a part of our fabric but they don't want to because there is a certain digital viewership but this is very tiny i'm talking about a one percent you know that are so they're they're so absorbed by the worlds of euphoria and and the worlds of uh you know all the shows that are available on all the ott platforms and they've stopped going to watch hindi cinema would you say that in a way the pan indian film always existed because there was a time there were hits across the country people who didn't even know the language uh you know went and watched films like that that's because each individual region created their own cinema and gave it that certain stature and quality right it was initially hindi cinema for the longest time so that's why everybody didn't have options when then the tamil industry went high chennai was the first base then the base moved for telugu cinema to hyderabad that movement happened also in the 80s right 70s like late 70s 80s it wasn't a movement earlier to the extent that it is now today so their own regions like marathi does so much more work punjabi does so much more work today at one point the regions weren't that active right the country was hindi cinema was the was the go-to for movies and i i guess it was also the only thing that was released throughout yes yes so that time the option was only that there weren't too many other films made there were films always in every region but few and far between then the south just went into overdrive more than rightfully so because they had the talent they had the resources they were self-made self-sufficient and told such amazing i remember watching some of the most fantastic tamil movies that were even remade at that time you know a lot of the them were made again the original of sargam is so good you know i've seen the origin of sargam and it was then many other such films then of course there was the whole 80s movement where all the justice chaudharys and mavalis and maksas and himmatwalas were also made and remade in hindi but as i said in the 60s and up to the mid 70s that traffic wasn't coming out of other regions speaking of the 80s one of my favorite scenes in all of your films is when uh ranbir kapoor wakes up in the morning and puts on his playlist and it's something because i like i'm an 80s kid like i grew up like predominantly i am 1972 born but i was obsessed with those songs to dance to the father i've seen two for five times in the theater i mean i and i wept when three navy passes passes away the end of the film on that bedroom scene i still remember we have webbed webbed mang bhara sajna and i've seen films are not even that that have not even done well mangy mehndi rang like he which had rekhaji in it and i mean i have gotten mad in that indus in that entire phase i think i watched all those movies i was obsessed and that kind of reflects in in many ways it goes back to the point that you said if you want to become a director then you have to watch yes all of this and you have to do bad good great watch it all right how can you not watch i get appalled when i meet people from these generations i've never not seen chole and i'm like please leave like get off this set you've not seen surely you don't have a right to exist it's pretty much a textbook in the mainstream world of cinema so i'm like in hindi and indian cinema it's it's it's one of the greatest textbooks i mean it's got everything it's exactly it's got everything how can you not say how can you not watch your day why are you an 80 what is your job to be an ad is just to kind of watch stuff and know and be aware of who's who you are very close to your father you always dedicate your films to him and you've spoken so much about him you've never made a father-son movie his father's son it's yeah but it's also a lot of other things yeah well it's not just your father no i haven't uh i had a very uncomplicated completely no baggage full of love absolutely nothing like many other father and son conflicts and dynamics mine was such a healthy relationship but something is so healthy there is no angst there's no hangs there's no story to tell i have no story to tell about the father and son but just that there was abundant love and joy and then you know the only story i could connect with is the losing of a parent you know because i have but i had such a healthy normal like like it was crazy like i hugged and kissed my father in the last day i mean sons and fathers have such weird silences weird awkwardness no communication the mother is always the intermediate mediator between that dynamic i don't have any such problem my father and i in fact sometimes just gang up on my mom like it was the reverse of that we were very very close it was healthy there was there was there was no in that armor what do i tell you yeah because i find a story doesn't come from pain then that's not a story yeah yeah it's personal to me because i've seen heartbreak i felt it it was it for love and it broke my heart into a brazilian pieces there was a story this is uh for me one of the greatest melodramatic scenes in indian cinema you first have ranvi go into anushka's house and kind of you know see those plants and the the the flower pots and things like that yeah and it comes back at that it comes up comes back at a very crucial moment when he says this is what it feels like yeah i mean it's it's melodrama at its purest how do you put that together like when you when when you think of a film there was a scene that i wrote in earlier where he's weeping because he's feeling he has a heartbreak when lisa hayden cheats on him and he's like you know you know so she just laid down she just sees what she has she has like a dumbbell lying there or whatever and she says it actually physically hurts right it hurts you know it absolutely hurts and it pains and uh and she puts that and she says what is this ah and she takes it off and she says this is like uh like the girlfriend lisa you know and she said this is heartbreak this is lisa this is how this is lisa so when he feels that heartbreak because he realizes his love and he's broken into a million pieces and i use the gambler because that's what she had brought to him with the thorns he was kind of iconic and it was just like i thought those were layers and i'm glad you caught it but i was like i thought yo i just wanted him to do the same thing and now you know i'm i'm agreeing this is ali now screw you i love you and you're marrying another man yeah and he walks out if not perform the wait and we did maybe that scene would have just fallen flat maybe it would have been too much i think he brought in so much emotional gravitas to that moment that he made it believable and connected so it's also the actor you know how you can push an envelope which is what like say when sally did with aliabad he's given us such high theatrical moments but she has a tendency of of i think absorbing it making it yet theatrical yet real and yet connective and i think he understood that about her yeah so it's who you actually give acting moments like this to you know somebody who's an actor who can cross the boundary of going beyond and acting and coming across melodramatic may not be the right fit i knew ranbir would be the right actor to do something that is so overtly melodramatic right when you mention it it was a surprise to see alia in gangubai because one you'd never really seen her that way and also ansari's uh acting style is not really naturalistic acting it's a kind of dance it's a kind of performance art it's just a scene where this man kind of bows down and she kind of you know taps this uh uh you know like like him like a chalo jaw you know kind of a thing it was it was shocking to see that she got him troll me if you like and i'm still gonna say it because it's the truth that she's the finest actor we have and i'm saying this across genders i mean like i am somebody who loves her deeply but there's just so much respect and when i saw the film baddie i swear called her and i i was joking because it was not just the film which was her performance in the film that moved me to the extent it had i said i'm privileged as a director to be directing it's like it's my honor that i'm in this phase of movie making and directing where you exist like i can't take any credit for aaliyah but by the fact that i launched her in the first film i always say her emotional launch is student of the year but her professional launch is highway i have nothing to do with aaliyah but acting genius today that is her and the filmmakers that gave her those parts whether it was abhishek jobe it was india's ali it is now sanjay leela bhansali it is gauri shinde shakun bhatra shashank abhishek these are the directors that have given her such juicy strong parts and she has been able to emerge as an actor i gave her the least challenging role of her entire career and i always say that everybody comes and gives me so much credit for ali and i was like i don't deserve any of it are you making up for that with rocky and running i'm just so excited she's in my movie like nine years later i'm like yay like arya what's your name and i'm like and i think i told i said don't do it because it's me do it because you love what you what you love what you hear or the script of course though i don't think that's really going to be her thing she's going to work with me whenever i ask her to because she just feels like she's a loyalist by nature which should never be the case because an actor should always get on board only if they believe in he or she believe in the part but i'm telling you it is just a privilege i always pray for her that because it's too much too soon like i've heard like shahrukh khan said that about her to me he says too much too soon she has to always be on top of her game you know because she's go she's too good too soon yeah she's too good too what's that in a coffee with current episode yeah yeah i think he said that i believe it i believe now she has to constantly be on top of her own game like she can't be looking beyond her shoulder language so just keep saying that's like really that so yeah but just want to put it out there i can't take any credit much as i love to i read a quote of yours that says i'm very much a product of my instinct can you tell me a time your instinct was right when everybody else around you thought it was wrong and one time when your instinct went totally totally wrong kapoor and sons was something that people didn't buy into in the readings and it was rejected by six leading actors a lot of people in my own team saw it heard the script earlier then so i didn't believe in it as much i mine told me this one is going to be just special that is one time that i feel my instinct was validated what did i love that didn't land you know i have to say and i'm not sounding i hope i'm not seeing it and it's coming across in any other way i've always known the films that may not perform i may not have articulated it outwardly not to hurt a filmmaker or a lead actor that's associated i could say that it's a five on ten we'll make the money but it won't create the ripple i know it i know when it's a two on ten you know i know when a disaster is coming your way i've seen it already right i may not see it because you want to love everything you do but not i've seen it in many a time i've been harsh and i've seen it completely um but sometimes i think if anybody's really clever up and tunes into me and how i'm marketing the movie you'll know whether i like it or not and i'll tell you why because the films that i really love i don't go into overdrive i go into overdrive and i'm fearing something so if you really really and why should you care so much to look at my strategy because it's mine and not anybody else's but it's not it's what i'm doing just personally for my own self but yeah i can tell so i don't think that my instinct where i thought was going to be great and it failed me no actually hasn't happened i've never been so it's happened that some films i thought would do better but it still did very well right so those are not saying to because that's sometimes external factors you know another release came like i remember there was this tiny film we made way back called hasita pasi which i really loved i really loved it did nicely did sweet business but it got squeezed between two big films yeah so if it had to do 50 calories it ended up being 38 but that still got love you know so it was fine but i felt that that should run 12 more you know 15 cars those are just my own barometers then i've gone up but then sometimes i thought we'll do hundred and not like razzie i thought oh in 1890 it will do this 125 crores and i'm like okay that's great like you know that's also happened your instinct was what made you pick up baubelli right yeah like like kind of a thing absolutely but even with your instinct did you expect these numbers okay how can you yeah how can you expect that it will be a telugu film that will be the number one hindi business ever who's going to say it right who's going to even predict this it's like if that person can predict this then that person should have predicted kobe as well you're making rock here rani for the longest time no one heard anything about it because it was all that was what you were talking about and then suddenly this announcement drops was it a script that you were developing already no okay i decided to temporarily keep tucked on hold in the month of end of march april actually mid april april may june and july is when i wrote rocky running okay you know i had one idea was popping in in my head in and out but i thought i'd look at it and i had all the time in the lockdown to write it i wrote it with three writers um you know sumit roy who was writing tucked with me shashank ketan who's one of our strongest directors has worked extensively with me on the screenplay and then finally huge support massively talented ishita moitra she came in and really did all the finalizing finishing you know really gratifying touches to the film um i had a strong writing support team in although you should also wrote the dialogue um it was wonderful like everyone was aligned with me everyone was aligned with each other it all happened quite fast what kind of movie is it i don't tell me supreme khan because that's what it is but what i'm asking is is it something that will push you forward as a filmmaker the way edel hemushkil did do you think that's happening i don't know what you mean by that uh i think this has the ability to do a stronger commercial number right has the ability again you know i'm i'm i'm choosing my words very carefully uh because i don't want to commit and then i'll be thrown the business back in the a1 syntax is far more mainstream uh it's also saying a few things of relevance but uh it's not breaking any cinematic boundary i don't think the film is taking any unconventional leaps in that way it's pretty much a family drama which has songs and emotion yeah drama but it's a film that i haven't made since say kuch kuch kabhi kushi when i mean so it's like me going back to my own earlier work right in terms of just the tonality right that's the one thing so if you've enjoyed those movies and you can have an unapologetic fun time at the movies this is that no but i don't know why you you you always refer to movies like lagaan or or something else it's like it's not that it's like you can make a perfectly nice mainstream film that doesn't make boundaries it's it's like and this is not that it is but but you don't understand i'm once between many times shy because i've also because you might be um a more broad-minded uh you know film analytic uh film critic but there are others that that question when you go back to doing things that indian cinema has grown up on i've read reviews of all my own movies that i've said old wine a new bottle same formula karanjour doing what he does best rich people problems i'm so like used to reading these kind of things that i don't think i get like if i break a cinematic boundary also it'll be like murmur they will say that you know despite his him as a director he manages again in love stories i remember reading so many reviews shockingly surprisingly and like there was one of you that said okay let me get this one off my chest karan jordan made the best film in this mythology and i was like so that's why i'm always apologizing which i shouldn't yeah uh but i'm apologizing because i'm not apologizing them i'm just saying i mean it is what it is but i am i loving it like yes do i want to constantly do it yes this is the cinema that i grew up on yes this is what i'm proud about yes you don't like it i'll appreciate your your feedback but i can't do anything about it this is who i am yeah so yes am i going to be taking leaps when they say no that oh switching genres is a leap like not that making an action from suppose i made a thriller or a making like whatever but i've done those and yet it's been slaughtered in the same box when i met kabir with an arcana it was still called that put in the same box as k3g and kuch you know like for some reason it doesn't matter when i break ground or not i still get slotted so i'm like now if you're going to stop me then why should i give you any anything to say about it it's not me it's fine yeah look at this actually you know i think it is far ahead of its time here also i don't want to tell you i'm feeling at all victimized by any of this because i'm still reading everybody's opinions yeah you but i'm just saying it as it is right there is a baggage a certain cinema critic sits on that seat with and that baggage is something i cannot take off most of them trolls don't bother me then why should critics bother me they're at least their intelligent roles if they're trolling you and at least they're coming and i really respect everyone's judgment i i absolutely love reading everyone's reviews because i feel like i learn a thing or two and there are many validating side also when that was first announced my first reaction was this sounds so much like a ghansali film and what is current going to do like like how would his version of a uh that film look like without like telling anything about the film which is like what was your treatment of of the of the whole thing uh that would have made it yours very earlier on i knew that the comparisons were inevitable they would come because i was going into this period historical zone and the only master of that domain has been bansali and has made some fantastic movies in that zone i was like i could be two things i can try consciously to be so different that i've god knows when i land or i can just do what my instinct is telling me i've also emulated your chopra i've also emulated raj kapoor i've also emulated many filmmaker gurudat i've done so much of like copy paste in my own time in my own way so even if i had to be inspired by mansari i would do it in my way it would be fine you know i'm sure there would be a lot of me that would come in but i was not planning to get so conscious that i do something bad just because i don't want to actually emulate something that's good so i'm like i'm no problem if you compare me to somebody who's good fine okay like you know i have no problem and i was very aware and i told the team please let's not because they would say oh but uh sanji did have something he's done this scenes i said but then i was fought across the across history now what is the fall when we shoot a war they will look in a similar way only there are horses riding towards each other there are swords that will be drawn now what do you do there are people in capes and headgear now what can i do if bhansali has done it now i do i will put him on a pedestal and probably emulate some of that because i don't think that he is the master of that domain and so if i have to be inspired i will i was not trying to run away from that at all right many showbiz parents they protect their children uh don't show them out in the media you know make make sure that they're not exposed to a certain kind of uh pap kind of culture but you rewell in putting out uh videos of your children with those you know entertaining uh kind of scenarios that you kind of do with you know in your closet or whatever it is kind of a thing is the attitude like okay anyway you're going to do this so let me do it myself is that the attitude actually it happened very organically again it was a lockdown we were all at home the kids were bored you know i was occupying them they would come and hang out in my room i would go in theirs and i started doing these videos initially it was just sending it to group chats of our friends once i shared one and then i saw that there was so much joyousness oh you know there was so much love uh and i never get a lot of love you know i get a lot of trolls and i get some strange emojis that come with my name and i was like my role as a parent uh you know uh is something that i i treat them like like like like we're hanging out as friends so i just thought when i put up that zone it was just getting so there was so much joysticks in the bleakest time of our lives i said let me do it and it doesn't bother me yeah but if somebody asks me will your children do a commercial with you no will they come on a film set and shoot an ad no will i take them to a public event and make them stand on stage no there are certain rules no no no but if i want to put out stuff that is completely harmless and fun and spreading joy and there's so many millions of people that are smiling and laughing and loving it i feel i'm spreading joy and when was that a problem yeah primary genre has been drama yeah uh is there something else that that you want to try like will current jo whoever make a sci-fi film actually uh action okay i'm dying to do okay i feel like there's a suppressed anger in me and i think that will come out i i'll live it vicariously through that film like i feel like like we discussed right at the top of the interview that i don't get angry but i think i've suppressed a lot of my anger i feel i think i'm very angry where is anger coming from baggage of things i think baggage of life experiences a baggage of circumstances in my life a baggage of not having vocalized what i feel to certain people to certain institutions to certain forces i i feel i've kept it all within myself and i think what is transfer translated is that that baggage that i'm carrying has become of this big bowl of anger and i feel like i need to throw it somewhere and what better than into a zone of inspiration so i think this ball of anger is going to make a very angry action film and a very therapeutic action film totally yeah for me making air there was therapy and so will the best and i told you i will be on the floors in the month of march making this perhaps this action fantastic thank you karen thank you so much thank you bad it was so lovely to chat with you as always thank you thank you [Applause] [Music] you

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Id: peK7KJIHmkM

Length: 43min 0sec (2580 seconds)

Published: Thu Mar 31 2022