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"My films aren't for people on Twitter or Facebook" - Karan Johar
Movies are forever, says the weaver of dreams Karan Johar. Filmfare tracks his game planMore on: Filmfare, Karan Johar
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Written By Rahul Nanda
Senior Multimedia Executive
Posted Mon, Apr 8, 2013 Rate Story
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Q. You've been one the most successful producers in the last decade and a half. What's your secret?
It was my father's dream that Dharma Productions should produce multiple films at a time. My company works on my intuition, my team, my ability to delegate work and my ability to let go of things. I believe control freaks can't operate creatively after a certain point. So I start a film and then let the director do his job.
Q. You were young when you became a successful director. When did the businessman in you come to the fore?
Until I lost my father, I was mollycoddled and spoilt. Cinema was one big toy I was given to play with. But then things changed suddenly. From a boy, I had to become the man running the show. I remember walking into my office four days after he passed away (2004). It was a Sunday and the office was empty. Sitting there alone, I resolved to be my father's son. I had to emotionally and professionally take over the business. Sometimes, the biggest loss in your life can give you the strength to overcome things and go beyond them.
Q. One of your first productions then was Kaal (2007) and it bombed. Did that make you apprehensive about producing films?
Not at all. My father was alive when we were preparing for it. After his demise, I had the choice of making the film or not. I gave it a shot. Creatively, it was one of the biggest mistakes of my life. I don't understand horror films. I hate watching them. Henceforth, I'll never attempt that genre. But back then, I wanted to give it a shot. I had great faith in Soham Shah (director) and his ability to pull it off. I guess I was wrong.
Q. You're friends with most actors and actresses. How do you deal with it when they give you a hard time as a producer?
I'm so glad we have agents now. I'm not dealing one-on-one with the stars. It's simpler playing good cop-bad cop with their managers. You are good cop to the star and bad cop to the manager. They do the same with you. That is what middlemen are there for. So I can completely lose my cool with a star's manager but still exchange BBM pleasantries with that star and vice versa.
Q. You're known to be one of the best paymasters in the industry. Doesn't that burden your budget?
I'll never shortchange anyone. Sometimes technicians bring more value to the table than lead actors. I like to pay my actors and technicians well. If I'm making money then why can't they? But when I make a small film, I make it clear what the budget is. If they like the film for what it is, they work on it. But if I'm making a big-budget film with a superstar then everyone should be paid top dollar. The belief that we're big and so we don't pay is old school. It's such a '60s viewpoint.
Q. Critics slam your larger-than-life films, which have lavish houses, branded clothes, NRI characters and exotic schools…
Every director has his vision. I'm not going to be apologetic about it. Even when I made My Name Is Khan, it was made to seem as though people were forced to praise it. If I were 'Karan Kashyap', maybe things would have been different. MNIK was true to its story. I didn't force anything into it. I'm not making films for those 100 people on Twitter or Facebook who have all the time in the world to put someone down. Seriously, I don't know any better. As a person too, my vision is larger-than-life. Above all, I put my own money to make it. If it's too 'Karan Johar' for you, don't watch it. I love over-the-top escapism. I live and breathe it every day. And if all these movies are making money for everyone, then I'm obviously doing something right.
Q. What attracts you to a project?
If something engages me, I go ahead with it. I'd love to produce films like Kahaani and English Vinglish but they never come to me. Somehow I get slotted because of my history.
Q. Tarun Mansukhani has been writing the Dostana sequel for four years. Why haven't you given that a go ahead yet?
Sequels are difficult. Today, everyone puts a '2' next to the title of a film to leverage the brand. If a film has brought you so much love, you have to live up to it. Tarun wanted to make the sequel. So I told him to first get the screenplay right. I'm not going to make a film that isn't as much fun as the first. In fact, a sequel should be better than the first film. That's why Tarun took so long. I want it to be perfect.
Q. What made you sign Rohit Shetty as a director?
I love Rohit's honesty. He's unapologetic about what he does. He plans his films perfectly. He's a producer's delight as his films make huge money and we're all here for the commerce. As a producer, I can't ask for a better director. I told him I'd fund the film fully and that would be the only time I'd interfere.
Q. How do you draw the line between business and creativity?
It's a tough call. Sometimes you love a film but know that it won't work commercially. Then you have to take a hard call and not do it. I don't have the kind of funding where I can make a big film just for passion. I'm never going to sell my office and house to make films. I'm here to make films that will make money. I've burnt my fingers in the past by making films that didn't make money. Let me break the perception once and for all – we're not the richest production in the business because we spend a lot on our films. Passion is a wonderful emotion but it doesn't give any gains.
Q. Recently, you've gotten into a lot of co-productions…
That's the way forward. Many are doing that. If you want to put out software, you can't do it on your own. No one alone has a creative or business infrastructure to put out a large bandwidth of films. Sometimes, a production house brings a director or a script and you get the cast. That marriage has become important to our industry today. Like I loved Two States and wanted to make it. Sajid Nadiadwala had the rights, so we're producing it together. Ekta Kapoor had a great idea and thought I would bring a certain aesthetic value to it, so we're also producing a film together.
Q. Reportedly, you had problems with Anurag Kashyap as you thought his dialogues in Kurbaan were not up to the mark. But now you two are co-producing a film. How did the change come about?
Anurag and I had misconceptions about each other. But when we met, we realised we are driven by the same things. We both love movies and people who make movies. We get along famously. We might not like each other's films too much but we have a great laugh when we're together. Anurag is a multi-talented mind.
Q. You're producing films like Unglee and Gutka? These don't sound like Dharma Production titles...
These films might sound non-Dharma. But there's a certain credibility to them. Unglee (director Rensil D'Silva) is an anti-establishment film making a strong social comment. Gutka, which we're starting next year, is a hard-hitting drama.
Q. Are you producing such gritty films because you wouldn't be able to direct them?
That's correct. I want to produce such films because I'll never make them as a director. I didn't even have the ability to pull off an Agneepath that had so much emotional, high-intensity drama. That's not my space as a director. But I can hire people to do it. It makes Dharma Productions a versatile company.
Q. You launched three newcomers – Varun Dhawan, Alia Bhatt and Sidharth Malhotra in Student Of The Year. Is that your way of creating your own stars?
Yes. It's important to create your own stars and leverage from it. That's my goal. I want to launch many more stars through Dharma. I've made a franchise with SOTY. I'm already in talks with one director in Dharma to direct the sequel. This franchise will only launch new actors. It'll be fun, young and high school.
Q. Can we expect a Dharma Studio in the near future?
I don't know. I don't have the ability to handle an entire studio and its infrastructure. But if I tie up with someone for that it would be great. I have to take Dharma to a new level, though I don't know how.
Pyaar Kii Ye Ek Kahaani
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