Irrfan talks about his upcoming film Madaari, how we can change the world‘s perception of Bollywood and the one genre that he really wishes to do
Box Office India (BOI): Nishikant (Kamat) told us that you and producer Shailja (Kejriwal) approved the story first because you wanted to make this film. How did it all come together?
Irrfan: This is the first time it happened like that. It when I was doing Paan Singh Tomar and UTV supported us. This was the first time UTV had funded research. That was a big deal because we don’t have a culture of research… subject aaya toh banao film, par nahi yeh subject aisa hai ki research karna padega because it’s based on a real-life character and nobody knew of him. We couldn’t even Google him, unka toh naam hi gayab hai. Do baar national champion hai aur uska naam hi nahi hai Net pe.
So UTV supported us, bohot mehnat ke baad utha patak ke saath film bani and it then got stuck. I felt helpless, not only me but the team and director, ki humne itna kiya and we wanted to buy that film. We showed it to certain people who might be interested lekin that helplessness made me feel I should at least have a say ki agar mujhe release karna hai film maine itni mehnat ki hai apna paisa diya hai, then I should at least have a right to share it with the audience. I thought I should have enough control over the fact that the film should be seen.
Dheere dheere halaat bante se bante hai and we kept exploring ideas, and we brought in Ritesh Shah, who loved the idea. He was as moved by the idea as we were and he too believed that his film must be made and shared with the audience.
Thus he wrote it and I remember getting goose bumps the first time he narrated it to me. I took it as a sign that the film should be made. Next, we started searching for the director and the first person that came to mind was Nishikant, and I approached him. He too liked the subject and how passionate we were about it. He felt as if it was his story. This is how it all this came about. Game palat gaya. Jamura madaari bann gaya, madaari jamura ban gaya!
BOI: Was it easy to get the other producers on board?
Irrfan: This is not a regular commercial Hindi drama. I would call it ‘new commercial cinema’, which has been evolving for the last two to four years. Since it was not a regular film, it was difficult to convince corporate houses. Corporate me ek aadmi toh hota nahin hai jisse main baat karun. There are so many people involved. Usually, corporates look at the entire package, iss package ki kitni value hai and, sometimes they fail to spot the potential.
So we thought we would make this film ourselves and then take it to the corporates. Instead of wasting time going from one corporate house to another, we decided to raise the money ourselves and make it on our own. Then my part was over as a producer. Then I was not involved as Shailesh (Singh) raised the money. Then the ball was in his court.
BOI: It is said that films don’t fail but budgets do. Were you involved in the budgeting of the film?
Irrfan: Yes, I was very aware of its budget. Kyunki aapke film ki recovery hai lekin uska pattern hai so you should be very careful. What can happen sometimes is you have a brilliant subject and you can cast the biggest superstars but if the subject doesn’t have mass appeal, it’s a big mistake. So the subject and the budget are always correlated.
Let me give you an example… jaisi ki Guzaarish. Guzaarish was a very beautiful subject but I don’t think it had the kind of mass appeal to justify an investment of `100 crore. If that film had been made on a budget of `30-40 crore… some subjects have limitations. Or let’s say Haider. You can’t make Haider in
`100 crore. You have to keep the budget intact, and that is very, very important.
BOI: You said your struggle during Paan Singh Tomar and some of your other movies prompted you to become a producer. But being a producer is not easy. Has your struggle ended?
Irrfan: I don’t get into the recovery etc, that’s why you need a partner to rely on. And I have no idea what difficulties he faces while he’s raising the money. I think sometimes it’s difficult and sometimes it’s easy. Right now, it seems easy. If I select a subject and approach producers, there are producers who are willing to invest the money. So, for me, it’s becoming increasingly easier.
BOI: Nishikant says you are a very logical actor.
Irrfan: ‘Logic’ is not the right word because logic has mathematics; it has two plus two is equal to four. But performance has nothing to do with logic; it has to encompass the whole mystery of it. It has instinct and instinct is not logical. Instinct is far more serious. I don’t approach my character with logic.
When I graduated from drama school, I had a tendency to be very logical and analyse things, agar usne yeh kaha hai toh yeh kaise keh sakta hai, agar aise hua hai toh aisa kaise ho sakta hai and because we were groping in the dark, exploring and trying to understand the craft, the first thing we did was used logic to analyse a character.
But logic has its limits and that’s why I didn’t like my performances in my early days. I would look at the mathematics ke agar asia kiya toh waisa kiya. You don’t see the craft. It just happens… We don’t know how it happens, why it happens, and you don’t want to know. Sometimes you wonder how to approach a character and how to work on a character and what the formula is, because in India we don’t have a tradition of realistic acting and there is no method. In Western countries there is a method, there are techniques you can follow. In India, our cinema is influenced by Parsi theatre, it came out of Parsi theatre, and we used to depend on melodrama.
Therefore, there is a fantasy element in our films, it is also in sync with our culture as we have a celebratory culture. We celebrate everything, including death. Even our gods are dancing with gopiyas. We don’t have a method, we haven’t developed it.
For me, it is basically trial and error. I don’t have a technique. For every character, I have to find a new way to get into it. Sometimes characters are less demanding. They are, like, ready, tum idhar palat ke dekho me aata hu, so it’s like that ki bas merei taraf nazar maaro aur main aa jaunga. But some characters and some stories are very detached, and you have to put in a lot of effort to see their face dikhao toh sahi surat tum, kaise ho tum.
So, every time, you have to find a new way and that’s instinct. I never know how I will be able to see through what is there. Sometimes it’s there in the script but there’s still something lacking. Like for Piku, I did the film as I loved the script, there was a great flow and music in the lines and I could smell the character. Yet it did not come to me. Then I felt the need for a narration from Juhi (Chaturvedi, writer) and that really helped.