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Q: You decided to cancel the premiere of 'Kabhi Alvida Naa Khena'.
A: Yes, Mumbai has recently been through a ghastly phase. I stuck to my release date but to celebrate so soon after the tragedy seemed insensitive.
But I am very excited that one of Mumbai's oldest and most revered theatres (Metro) will re-open with KANK. Metro has always been my favourite cinema hall. That's where I became passionate about cinema watching the cinema of Raj Kapoor, Yash Chopra and Sooraj Barjatya. I attended the premiere of Yash Uncle's 'Darr', 'Lamhe' and 'Chandni' at Metro and also of Raj Kapoor's last work 'Henna'. For Metro to open with my film is a proud and nostalgic moment.
Q: Tell me about your release.
A: It was about 900 prints the world-over. It's much more than K3G ('Kabhi Khushi Kabhie Gham'). But that's because the format of release is totally different now. The advent of multiplexes and the increase in audiences have changed the scenario since K3G and 'Kal Ho Naa Ho'.
Q: Amitabh Bachchan thinks KANK is glorious.
A: I was very moved by everyone's reaction. He sent me a letter, which I've framed in my office. Amit uncle is a legend and a family friend. Shah Rukh who in a way launched me and Aditya Chopra, who has taught me filmmaking, all have a high opinion of KANK.
I was an assistant to Adi and his opinion matters a lot. I remain his assistant at heart. For me he's like the ISI (Indian Standards Institution) stamp. And yes, like all directors I'd say I can change a few things in KANK, but I can't.
Q: It's felt this time you've swerved into complex topics like adultery, extra-marital relationships, etc.
A: I think these pre-release notions make the film sound a tad frivolous. The difference this time comes in the colour of my characters. Earlier my people lived in the white zone painted by circumstances.
In mainstream cinema we tend to look at characters as saints or devils. In KANK the characters live in the grey area. My hero in KANK is flawed. He does wrong, but owns up to it. He's a real character.
Q: Do you think the audience would like the real in your film?
A: The audience has always been more real than us filmmakers. We made them escape into Neverland. Recent successes prove that audiences are willing to accept the unconventional - 'Black', 'Rang De Basanti'. So many thought-provoking films have made it at the box office. The audience has evolved.
They're more than willing to accept reality that bites. But I don't know if the average filmmaker has.
Q: After seeing KANK Javed Akhtar wonders how you know so much about marital disharmony?
A: It is simple. Stand at a distance from any matter and you can see it better. I'm not married. But I'm surrounded by married couples and their problems.
Q: Is this the film where you've made the least mistakes?
A: No filmmaker knowingly makes mistakes. Sometimes a director's perception fails to match his screenplay. KANK is the one film that I made without any compromises, without playing to the galleries. I didn't allow the mind to operate over the heart. KANK is all heart. The film might open up debates. But this is what I wanted to make.
I've been accused of clever commercial calculations in the past and I don't dispute that. K3G definitely had a lot of playing to the galleries. With KANK I've grown up. I'm not saying it's a good or bad film. I'm just saying I've evolved as a filmmaker. It's a sign of a new phase.
Q: So, are you saying you've completely swerved away from the Karan Johar style?
A: I'm not saying that at all. For heaven's sake, I do have a bhangra and a disco in KANK. Every filmmaker has his own stamp. Just as you can't imagine a Yash Chopra film without the chiffon saris, Sanjay Bhansali's films without the visual opulence, or Nasir Hussain's films without their elaborate musical numbers. Bad or good I came with my bhangra.
Q: Some people say KANK is inspired by the Robert de Niro-Meryl Streep romance 'Falling In Love'?
A: The only motif common to both romances is the railway station. Otherwise, there's no similarity between the two. Not a single twist is common.
Q: Do you foresee embarrassing comparisons among the actors in KANK?
A: It's only the critics who compare performances, not audiences. From audiences there's no comparison, only appreciation. In my film audiences love everyone from Amitabh to Shah Rukh to Abhishek.
I don't know how far I've succeeded in directing the actors. But they've all done way better than how I had written the roles. Full credit to all of them. I think the actors make KANK. I'm a distant second.
Q: Abhishek is new to your cinema.
A: I was taken back to those filmy birthday parties when I was seven and he was three. The vibes on the sets with Abhishek was like the song 'Where's the party tonight'. Abhishek is a child-man. And that's what he plays in KANK.
Q: There were speculations about fights among actors in New York.
A: All we fought was the cold weather. No one fought with each other. For heaven's sake, there're so many important wars being fought. Why focus on non-existent wars?
The Rani-Preity war was totally over-blown. I'm not saying they are the Pointer Sisters. They don't live in each other's courtyard. But they share a healthy rapport.
Q: I believe it was traumatic in NY?
A: We faced every possible crisis, from bad weather to over-budget schedules to location crisis. I fought a battle and now it feels like ceasefire. But I might again shoot in NY if the city creeps into my narrative.
It's ironical, but we shot in a horizontal (70 mm) format in a city that's eminently vertical.
I feel there's an underlining sadness in NY, just like my characters. KANK is the most traumatic film of my career. It was like hell and back. We shot 'Kal Ho Naa Ho' in July and August, which is a relatively less busy time in NY. KANK we shot during September-December, which is peak season.
Q: Would you say your father Yash Johar's absence added to your woes?
A: Totally. He was a born crisis manager. Crises used to get him all wired up. Each time I got into a crisis during KANK I felt his hand on my shoulder. You lose a parent and you gain a god. My father is my god.
Q: Your last thoughts?
A: I've always received my audiences' love. When they say they're dying to see my work I feel they're referring to another Karan Johar. I've been given that love without asking for it. I hope it continues.
A: Yes, Mumbai has recently been through a ghastly phase. I stuck to my release date but to celebrate so soon after the tragedy seemed insensitive.
But I am very excited that one of Mumbai's oldest and most revered theatres (Metro) will re-open with KANK. Metro has always been my favourite cinema hall. That's where I became passionate about cinema watching the cinema of Raj Kapoor, Yash Chopra and Sooraj Barjatya. I attended the premiere of Yash Uncle's 'Darr', 'Lamhe' and 'Chandni' at Metro and also of Raj Kapoor's last work 'Henna'. For Metro to open with my film is a proud and nostalgic moment.
Q: Tell me about your release.
A: It was about 900 prints the world-over. It's much more than K3G ('Kabhi Khushi Kabhie Gham'). But that's because the format of release is totally different now. The advent of multiplexes and the increase in audiences have changed the scenario since K3G and 'Kal Ho Naa Ho'.
Q: Amitabh Bachchan thinks KANK is glorious.
A: I was very moved by everyone's reaction. He sent me a letter, which I've framed in my office. Amit uncle is a legend and a family friend. Shah Rukh who in a way launched me and Aditya Chopra, who has taught me filmmaking, all have a high opinion of KANK.
I was an assistant to Adi and his opinion matters a lot. I remain his assistant at heart. For me he's like the ISI (Indian Standards Institution) stamp. And yes, like all directors I'd say I can change a few things in KANK, but I can't.
Q: It's felt this time you've swerved into complex topics like adultery, extra-marital relationships, etc.
A: I think these pre-release notions make the film sound a tad frivolous. The difference this time comes in the colour of my characters. Earlier my people lived in the white zone painted by circumstances.
In mainstream cinema we tend to look at characters as saints or devils. In KANK the characters live in the grey area. My hero in KANK is flawed. He does wrong, but owns up to it. He's a real character.
Q: Do you think the audience would like the real in your film?
A: The audience has always been more real than us filmmakers. We made them escape into Neverland. Recent successes prove that audiences are willing to accept the unconventional - 'Black', 'Rang De Basanti'. So many thought-provoking films have made it at the box office. The audience has evolved.
They're more than willing to accept reality that bites. But I don't know if the average filmmaker has.
Q: After seeing KANK Javed Akhtar wonders how you know so much about marital disharmony?
A: It is simple. Stand at a distance from any matter and you can see it better. I'm not married. But I'm surrounded by married couples and their problems.
Q: Is this the film where you've made the least mistakes?
A: No filmmaker knowingly makes mistakes. Sometimes a director's perception fails to match his screenplay. KANK is the one film that I made without any compromises, without playing to the galleries. I didn't allow the mind to operate over the heart. KANK is all heart. The film might open up debates. But this is what I wanted to make.
I've been accused of clever commercial calculations in the past and I don't dispute that. K3G definitely had a lot of playing to the galleries. With KANK I've grown up. I'm not saying it's a good or bad film. I'm just saying I've evolved as a filmmaker. It's a sign of a new phase.
Q: So, are you saying you've completely swerved away from the Karan Johar style?
A: I'm not saying that at all. For heaven's sake, I do have a bhangra and a disco in KANK. Every filmmaker has his own stamp. Just as you can't imagine a Yash Chopra film without the chiffon saris, Sanjay Bhansali's films without the visual opulence, or Nasir Hussain's films without their elaborate musical numbers. Bad or good I came with my bhangra.
Q: Some people say KANK is inspired by the Robert de Niro-Meryl Streep romance 'Falling In Love'?
A: The only motif common to both romances is the railway station. Otherwise, there's no similarity between the two. Not a single twist is common.
Q: Do you foresee embarrassing comparisons among the actors in KANK?
A: It's only the critics who compare performances, not audiences. From audiences there's no comparison, only appreciation. In my film audiences love everyone from Amitabh to Shah Rukh to Abhishek.
I don't know how far I've succeeded in directing the actors. But they've all done way better than how I had written the roles. Full credit to all of them. I think the actors make KANK. I'm a distant second.
Q: Abhishek is new to your cinema.
A: I was taken back to those filmy birthday parties when I was seven and he was three. The vibes on the sets with Abhishek was like the song 'Where's the party tonight'. Abhishek is a child-man. And that's what he plays in KANK.
Q: There were speculations about fights among actors in New York.
A: All we fought was the cold weather. No one fought with each other. For heaven's sake, there're so many important wars being fought. Why focus on non-existent wars?
The Rani-Preity war was totally over-blown. I'm not saying they are the Pointer Sisters. They don't live in each other's courtyard. But they share a healthy rapport.
Q: I believe it was traumatic in NY?
A: We faced every possible crisis, from bad weather to over-budget schedules to location crisis. I fought a battle and now it feels like ceasefire. But I might again shoot in NY if the city creeps into my narrative.
It's ironical, but we shot in a horizontal (70 mm) format in a city that's eminently vertical.
I feel there's an underlining sadness in NY, just like my characters. KANK is the most traumatic film of my career. It was like hell and back. We shot 'Kal Ho Naa Ho' in July and August, which is a relatively less busy time in NY. KANK we shot during September-December, which is peak season.
Q: Would you say your father Yash Johar's absence added to your woes?
A: Totally. He was a born crisis manager. Crises used to get him all wired up. Each time I got into a crisis during KANK I felt his hand on my shoulder. You lose a parent and you gain a god. My father is my god.
Q: Your last thoughts?
A: I've always received my audiences' love. When they say they're dying to see my work I feel they're referring to another Karan Johar. I've been given that love without asking for it. I hope it continues.
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