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Tigmanshu Dhulia Curated
Indian Film Director
CURATED BY :
How do you stay connected with your roots as there is a chance of getting disconnected in a city like Mumbai?
But do you think there should be a social responsibility on them? Because our daughters might see these …
Cinema has changed and there is scope to tell different kind of stories. Do you think there are many new voices coming in?
There was a time when there was a demand for particular films particular kind of actors. Would you see a future for yourself then?
Bandit Queen, which was an unusual theme for that time. It had an unexpected casting. Dil se was based on terrorism. These are real, news-y issues. Did you always have an inclination to make these kinds of movies? That world fascinates you? The complexities of Chambal?
Your father had passed away by the time you got married. He missed seeing you married. How were you as a son?
Was Allahabad not that cosmopolitan back then that girls and boys could meet and have a cup of tea?
Do you feel frustrated, when a good idea has to struggle it's way out in main stream bollywood cinema?
How do you interpret so called International Cinema in your movies? Does it have any effect on your films?
When you introspect your movies do you feel that you lack something in your style of filmmaking?
Does living in Mumbai bothers you? Do you feel missing oit on many different experiences?
How one should take care of both commercial imperatives and creative ambition in today's time of filmmaking?
I think after 1960's the respect for a content writer went down significantly and that must change now.
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You had a challenging time releasing ‘Paan Singh Tomar’ and then silenced cynics when it emerged as a profitable and acclaimed film.
Yes, it was a painful experience. I was really happy in the beginning when I found a visionary producer who funded my research. I had wanted Paan Singh to be my first film. Everything was fine till a point and then I hit a roadblock for almost 18 months. It was traumatic, especially as I knew the piece would work. It was frustrating and I learnt never to trust corporates. Their loyalty is to no one.
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With the surfeit of sequels these days, is there more to the trend than a profit motive?
It’s very subjective. Of course profit is an element but for me, if the subject is not motivating me or pushing me into a corner when I am writing, then I am not interested in making it. For me art comes before money. I am not in awe of film-making. When I feel I have said all I have to say as a film-maker and reached saturation point, I will leave the industry and join politics.
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You seem to have a preference for guns, action and testosterone-fuelled films. Are those also the kind of films you watch?
I like to watch and make films with guns, bullets, action, but it’s much more than that. I also explore social layers, politics and relationships in my films. Even Bullet Raja, which I am shooting right now (Saif Ali Khan, Sonakshi Sinha) is layered with references to caste politics, relationships, etc. It’s not a Rowdy Rathore. I explore different themes, whether it’s a biopic like Paan Singh Tomar, a buddy macho film like Bullet Raja or a drama like Saheb Biwi Aur Gangster. I like watching all kinds of films except social dramas, mythologies, melodramas and romcoms. I could never make a wonderful film like Kuch Kuch Hota Hai because I have not fed myself with that cinema.
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You worked with Shekhar Kapur in Bandit Queen. Was he instrumental in bringing you to Mumbai?
Yes. When Bandit Queen was completed, Shekhar Kapur asked us to shift to Mumbai. But, soon, he got an offer for Elizabeth and went away, leaving us stranded. We had come here on his suggestion, but our initiation into the industry had not happened fully. And when he left, we did not have anything to show for our time here.
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