‘I was least convinced about Munnabhai’

Is directing a film as enjoyable as writing it?
Writing is more satisfying, directing is more exciting. Writing is the purest form of creativity, it’s like developing a new theorem, and it’s scary.
Directing, on the other hand, is like attempting a multiple-choice test. The difference between them is akin to the difference between a music conductor and a composer. While directing, you need to be able to take a judgment call. You can never freeze up—something a writer always dreads.

You’ve written scripts of blockbusters such as Munnabhai MBBS, Main Hoon Na and Maqbool. What do you think sets your scripts apart?
When I write a script, I need to have an anchor. It could be a moment, a character, a scene or the tone. It defines the film for me. For instance, in Maqbool, the idea of the three witches became my anchor, so I decided to create the two cops who manipulate the underworld. In Main Hoon Na, Suniel Shetty’s villainous character — a nationalistic Indian—was the anchor. Through his character, I wanted to explore how over-zealousness in following your values could lead to evil.
I was least convinced about Munnabhai MBBS though. The film was totally Rajkumar Hirani’s vision. As I was struggling writing its script, I looked back at a poem that I had written in college. The poem went something like, “Haan, thodha dard hai, par chalta hai”. The poem became my anchor and helped me connect with the film’s theme.

What’s the anchor for Jaane Tu Ya Jaane Na?
There is an elusive factor in it; I call it the smile value. It defines the film’s cheekiness and occurs in the end, when the lead actor does an unusual act on the streets of Mumbai.

Can you direct a script not written by you?
Oh, I would thrive if I get to direct someone else’s script. In many ways, you become limited if you direct your own script. As a director, I put 60 per cent of my work in writing. On the contrary, a talented writer like Anurag Kashyap puts all his work into directing and writes faster, in a quick flow. You can’t judge Anurag’s script because he’ll take it somewhere else when he directs it. But I need six months to write. To lock it, rework it and then get everyone’s approval. So, directing someone else’s script is my fantasy.

Did you always want to direct?
I used to mock people who would turn directors after writing a couple of scripts. The scriptwriting level in our industry is so abysmal because nobody wants to be a permanent scriptwriter since all the money is in direction. I’m convinced that the bar of scripts won’t rise until someone works towards making the script as important as the starcast.
I wanted to be ‘the man’ to lead such a change. With Munnabhai MBBS, Main Hoon Na, Maqbool and Salaam Namaste, I did get close to doing that. But four years ago, I hit a difficult patch in my personal life when I couldn’t write anymore. I had to choose between eating my words or bumming around. I love home-cooked food too much to bum around so there was no choice really (laughs).

Did you counter any creative interference from your producers, Mansoor Khan and Aamir Khan, also two acclaimed directors?
I think Aamir realised that I was getting somewhat bothered with what my contemporaries were doing, especially the way films like Omkara, Black Friday and Chak De!
India were pushing the envelope. So he would constantly rein me in by telling me to just “shoot the bloody script you narrated to me”. As for Mansoor, he’s a saint. I would marvel at the fact that he would be on the sets and speak only when he felt he really needed to. On the first day itself, he told me, “I’m not here to do your job. I’m available to ensure you get all the stuff you need”. Mansoor never once said that this is how he would’ve shot a scene.

Which recent screenplays would you rate as good?
Chak De! India was brilliant, Om Shanti Om was fun, Namastey London was unexpectedly good and Khosla Ka Ghosla was delightful.

IMRAN KHAN UNPLUGGED
Talking Pictures: I have a slightly romantic view of cinema. I feel if you know too much about a particular actor, the mystery goes away. I don’t want to know what brand of toothpaste my favourite actor uses, rather tell me about their craft.

No Smiles Please: I don’t like my smile. I’m uncomfortable with still photography. I’ve yet to learn to give my best smile at all times.

My girl: The mere thought of denying Avantika’s existence was dishonest. In my opinion, if ever you need to hide something that you’re doing then you shouldn’t do it. I never leave my home without this ring that I designed for Avantika on our third anniversary. Avantika is my harshest critic too. She can’t stand for me to be anything less than perfect.

Dear Mamujaan: Once Aamir gave me a speech on how as an actor it’s my job to support my director through thick and thin. He told me that I should be the guy who stands by my director and put myself behind the film totally. I will always remember his words.

My Kind of Movie: A Fish Called Wanda, Eternal Sunshine of the Spotless Mind and Life is Beautiful. As for an Aamir film, as corny as it may sound, it’s Qayamat Se Qayamat Tak.

My Heroes: Aamir, Hrithik Roshan, Sushant Singh and Atul Kulkarni.

Dream Girl: Juhi Chawla. I even proposed marriage to her when I was three years old. I even gave her a small ring. She accepted my proposal but three days back, I wanted the ring back. I’m pretty ashamed of myself. Till this day, Juhi jokes that I broke her heart.