Her directorial debut was the lovable and successful Honeymoon Travels Pvt Ltd, and her second offering is the much-awaited Talaash, released this month. But Reema Kagti is more than just one of Bollywood’s top female directors – she’s also a wordsmith, and has penned the scripts and screenplays for both her films as well as for 2011’s hit Zindagi Na Milegi Dobara. AGI ineriewed this ‘thinking writer-director’…
You call Talaash a suspense-drama and not a thriller…
Talaash does have its share of suspense, but there’s a lot more to the film than that. It’s very emotional too and in that sense it’s different from other thrillers. Despite the suspense throughout the film, it is the emotion of the characters involved that is the essence of the story.
Was directing the ‘perfectionist’ Aamir Khan a challenge?
Aamir is a perfectionist, but so am I! So working together was a wonderful experience for both of us. He didn’t put any additional pressure on me that I didn’t put on myself!
He is also known to be an extremely ‘involved’ actor – did he give creative input to the film?
I like to have a dialogue with all my actors, and always allow them to bring their inputs to the table. Aamir did the same, but he was always respectful of my vision to the film. He was extremely supportive and co-operative and in fact, helped me hone my skills.
Talaash is a pot-pourrie of artistic minds and talents (Farhan, Aamir, Rani, Kareena) – were there creative clashes during the making of the film?
Debate and dialogue is always encouraged on my sets, but even though there were some opposing ideas, I had total control of the decisions. The cast and crew respected that. But creative clashes are a process that every director goes through during every film.
You’ve been in the industry for over a decade now, as Assistant Director, Director and Writer. What is your take on current films being made in Bollywood?
I think the industry has undergone a huge change in the past decade; technological advancements apart, there is a drastic difference in mindsets and ideologies. When I started out as Assistant Director, there were certain notions floating around, such as women directors in Bollywood were jinxed and that no ‘good’, ‘thought-provoking’ film did well. Such perceptions cease to exist today.
[quote align=”center” color=”#b64736″]There needs to be a mix of commercial and alternative cinema for a healthy industry.[/quote]
So would you say there is now a shift towards more intellectual cinema?
I wouldn’t necessarily say intellectual, but a more engaging form of entertainment. Today, there are a number of alternative films also being made, which is good; there needs to be a mix of commercial and alternative cinema for a healthy industry. The audience has the power of choice and writers and directors have the freedom and support to experiment with a range of subjects and genres.
As a script and screenplay writer, what are the crucial aspects involved in transforming a story to film?
I find it hard to separate the writing process from directing; for me, one is an extension of the other, the core ideas are the same. Of course, when I’m writing, I have my writer’s hat on and when I’m directing, my director’s hat, but there is no real difference in the way I’m thinking because I’m doing both. It helps me keep track of what I eventually want to project on-screen and doesn’t let me stray too much from the original concept. However, that said, I’m very open to the idea of directing for other writers; in fact I’m quite curious to see how that process pans out.
Is there a particular Bollywood actor/actress that you would like to direct in the future?
There are quite a few, but who I work with will depend on the script. Characterization is important, and its essential that the actor/ actress fits the part.
What’s next in the director’s seat?
I’m working on two more scripts at present; one will be directed by myself and the other by Zoya (Akhtar). But its too soon to talk about either right now.
