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| Edited By: Meena Iyer |Source: DNA |Updated: Feb 01, 2018, 07:00 AM IST
As you alight from a taxi in a quiet Juhu bylane, your eyes darting left to right to spot where Sanjay Leela Bhansali’s office could possibly be, a police jeep comes into your vision. And you know immediately that behind the intimidating brown gates is where the man is “imprisoned.’’
When the gate slams shut, a name and reference check is done. And then, a dozen safari suit-clad men with walkie-talkies point you in the right direction. Finally, you are seated opposite SLB, who is dressed in his signature kurta-pyjama. His mop of grey hair and dark-rimmed glasses lend style to his carefully-built persona. He is celebrating the runaway success of his magnum opus with chocolate. Urging you to dig in, he indicates that he is ready to talk. And so, we ask:
Yes, but Padmaavat is blessed. There are creative angels who come and bless such films. There is some divine energy that says this is the way it should be. It is fascinating to go with the flow. If you are supposed to face the attacks or these kind of protests that we have gone through, it’s a part of the film’s destiny. All I can say is that it just makes you stronger and wants you to make the movie better. When your whole being is at stake and you feel that you are going to perish, you give the thing on hand your best shot. Then things unfold in a way. So, from January 27, 2017, when we were attacked in Jaipur to January 25 this year when the film released, it has been one whole year of strife. I cannot describe all that my team and I went through.
A lot of people said that I didn’t answer or defend myself. I didn’t come out in the open to speak or react. But my only reaction was to make the film better. If it hit the screen, which it seemed would be almost impossible at one point, that itself would have been a victory.
At the cost of repeating myself, I must say that movies like Padmaavat are destined. How can the same set of people (actor, technicians) who have worked on this film and go to another film, are not able to achieve the same kind of results that this movie has? There is some divine energy. When a film reaches a theatre, that is the happiest journey for me because there is no greater joy than that final lap from the laboratory to the screen. That is what you live for. When the first frame is beamed on the screen, it is the most fascinating and satisfying moment for me even after all these years and so many films. It is a moment to die for.
I don’t know who says what. All I know is that there’s a madness that is growing within me. I constantly strive to say something bigger and better. There is a time when you evolve. You feel that you have understood your craft, signature and style of filmmaking. You know you are more adept at doing things and find that rhythm slowly over the years. That’s what I think has happened to me. I found scale during my Hum Dil De Chuke Sanam and Devdas days. But the journey between Goliyon Ki Raas Leela Ram-Leela and Padmaavat taught me so many other aspects. It is very difficult to make a big-scale film. What people call, ‘the big-screen experience’, is hard to achieve.
All that I loved about music, drama; all that I have learnt from Raj Kapoor, K Asif or Kamal Amrohi, V Shantaram and Mehboob Khan, I started finding and putting it together. I have also deeply admired Ramesh Sippy (of Sholay fame). I’m constantly imbibing the energies of these great men with vision and talking to them. So, I’m discovering far more than the basic box-office collection.
I started finding the rhythm of the shot for the first time during Ram Leela. I made sure the sur and the scale didn’t go wrong. I found some joy in making Padmaavat irrespective of the problems that I encountered.
I took 12 years to make Bajirao Mastani. I waited nine years to make Ram Leela and I had to wait eight years from the time I did Padmavati, the opera on stage, in Paris to get to the film. I’ve enjoyed making these movies so much. They were very challenging. How to put things into a big frame and how to spend money are things that I’m obsessing about all the time. You know budgets become available to you but how you spend that money in the correct way is important. And I really don’t care whether the films brought in the numbers at the box office or not. I never work with that fear.
People say why don’t you go on a holiday and I tell them I only want to go to the studio. I want to go to FilmCity and Mehboob Studios and sit over there. So often, when I’m crossing Bandra, I make it a point to drive into the Mehboob Studio compound, sit there and just stare. That is the kind of love that I have for cinema.
(Laughs) They can call me what they want. If I’m happy and I enjoy taking that detour into the studio compound and saluting the memory of Mehboob Khan, then let me be. Perhaps the energies of Mehboob saab will get into me and his soul will bless me. Who knows? I like doing that, so I do it. I go to V Shantaram’s Rajkamal Studio in Parel for my mixing. And when I stroll in that place, I can feel his energy and soul. His trophies... the smell in that re-recording studio which has been exactly the same over the years. I had gone there first when I was remixing for Parinda (1989) because I was an assistant with Vidhu Vinod Chopra.
It’s so nice to know that the audience wants to see your work. A film without an audience makes no sense. When they say, ‘We now understand your signature and style of filmmaking, so we come to see your film,’ it’s a great high. Whether it has Ranveer (Singh) and Deepika (Padukone which is an added attraction), they come to see my film. I personally thank god for this blessing because even if I’ve been cursed with all these innumerous problems — over the years which I have fought — inner demons and external problems — I’ve also been blessed by God because he has said, ‘Ok fine, you get a style and signature, you have an audience, you do not need anything more.’ Who puts in Rs 180 crore to make a film? It is easier said than done. I would say I’m more blessed than I’m cursed. Even though Padmaavat has gone through so many problems, today it is getting its due.
Deepika is so fabulous; she is such a jaan. I just love her. All her hard work and brilliance that she brings to the set is effortless. She does her preparation but there is none of the—I AM PREPARED FOR A ROLE—heaviness around her. It is done with so much silence. It’s such a pleasure to work with someone who does what she is doing at that moment with absolute honesty. She’s an actor who feels so honestly and simply, but her performances are detailed and nuanced. I’m not done with her yet.
No other filmmaker understands Ranveer the way I do. Ranveer and I have a great chemistry and understanding. I know how to direct him and I’m aware about his limitations and strengths. I know what to do with him. He’s a very special actor. He has so much energy. I only feel he puts too much effort into ‘I did my research and I went here and did that’, all that I understand. For him to pursue his greatness, he has to be a little more effortless. He is fantastic. I am not done with him either.
Shahid was a new energy on set because I hadn’t worked with him before. It was interesting to see how a new actor works. He is a great-looking kid. He is extremely talented and so effortless. He is constantly wanting to become better. He would say, ‘I’m unhappy with that shot. Can I do this better?’ And I would tell him, ‘Can you stop pushing yourself. And punishing yourself because I know what I want from you.’ It was great working with him. He gave Maharawal Ratan Singh such dignity and silence. It was a nuanced and delicate performance. I’m so proud of what he has done in this film. Ranveer obviously had the author-backed role and he has come out with flying colours in it because of the range, but to play a straight and understated part, yet to make your presence felt is very difficult. Deepika and Shahid look so good together. I wish they do more films with each other.
I’m in a zone. I’ve not met anyone. I only live for my films. I do not feel I’m too harsh on myself. I’m enjoying it immensely. Once I start a film, I’m like that person who is sitting in a yagna completely consumed by the puja and the process. I’m in that meditative state where I see nothing, but my film. Even if I’ve been physically attacked or my set has been ransacked, my first reaction is, ‘Oh god, that shot, which we had set up, was so beautiful! Where will I take it?’ The humiliation and the anger of what I went through became secondary in so many ways. My film mattered to me. I saw a film called Sant Tukaram so many years ago. When Tukaram was asked anything, he would say ‘Vithal, Vithal.’ And you would wonder what he meant. Today, I understand what it means because for me it is only films. I have become Tukaram.
The emotions that I may deprive myself of in terms of relationships don’t matter. I live my life through my films. It is such a joy. Nothing distracts me. I just want to make bigger and better films. I’m constantly asking myself, ‘How do I evolve further?’ I’ve done a lot of introspection to reach this stage. If a film worked, I’ve never got up and said, ‘Wow, my movie worked. Bro, let us have a party.’ For me, it is how do I get better. How do I get one more star from a reviewer? How do I become a better person and a better filmmaker? Which is why you are finding a slow growth in my films from Ram Leela to Padmaavat. The search for excellence doesn’t die. It is getting more and more pronounced. And I’m living it completely.
