|  Sudhish
Kamath
is a well known lifestyle and entertainment reporter at
The Hindu. But his heart is with directing movies. This
interview is about his experiences, the highs and lows of
his maiden directorial venture, That Four Letter Word.
Sudhish
can be reached at 9382118103 or sudhish.kamath@gmail.com.
Sudhish,
you practically live, breathe and dream TFLW. Take us to
the birth of the film.
Interesting choice of words there, Kiruba. Live, breathe
and dream. Hmmm… EXACTLY the words that the film tries to
explore. Yes, TFLW is about living, breathing and chasing
your dream. Which is why it has to do with each one of us.
Which is why it is a story of every gang of friends. Which
is why it is a universally relevant theme. Which is why
I found the idea interesting enough to pursue in the first
place. But yes, the film was conceived when my best friend
Murugan and me caught up with life, during one of his annual
trips to India. While discussing our lives, we found a common
thread that has to do with everybody’s life. Actually, I
started a blog to record the birth of the film. So you can
find the details there. (http://thatfourletterword.blogspot.com).
But briefly, here’s how it started. It occurred to us that
everybody in our age group had the same things to worry
about: What next? What are we going to do with the rest
of our lives? What determines our dreams, goals and the
means to reach them? What is the price we need to pay? These
are things we wanted to explore through two diametrically
different attitudes in life. One way to live is to go by
your heart, it has to do with living the moment, going with
the flow… Carpe Diem. And the other way to live is to use
your head: you plan, stick to it and know where you are
going with total focus. But most of us are somewhere caught
between the heart and the mind … confused about which one
is right. I, for one, didn’t like Science in school, did
Commerce in College, and then Masters in Science, ironically
in Communications, always wanted to do advertising, but
took up a job in journalism to start working on a film,
just to tell someone who much I liked her. How confused
can one get? TFLW is about these people … these people we
know so well. Ourselves.
Did
you learn filmmaking formally?
I did, we had a whole semester dedicated to it when I did
my Masters, but it didn’t help much. Because, one thing
about filmmaking and sex… till you have actually done it,
you really don’t know how know how it REALLY feels like.
Man, I sound like Siddhu, don’t I? He he! But yeah, I learnt
filmmaking through the grind, on the job, while making TFLW.
TFLW taught me filmmaking. I didn’t make TFLW. TFLW made
me!
Who are the main people behind this venture?
Now, I don’t know where to start. Okay, first Murugan, because
he wrote it with me. He was in it from Day one, or night
one rather. That was five and a half years ago. And we wrote
the movie over email and it took us a year and a half to
develop the script. Then, Sashi Chimala, my producer and
my guide all the way. If there’s one man who has his heart
in the right place, that’s him. His little daughter has
been bravely fighting brain tumour for two years now and
our prayers are with him. And she needs yours too, so pray
for her. Though he’s not actively involved in the project
now, he will always be a part of it. Next, my cast … every
single one of them. The sacrifices and the emotional investment
they have made probably outweigh what me, Murugan and Sashi
together have, over the years. Abbas hasn’t been paid a
single rupee till now, in fact, he’s spent quite a bit,
after having taken over as Executive Producer mid last year.
Cary stayed without a job for a year, waiting for TFLW,
before we shot something. Similarly, Usha too, will now
complete her second round of six months waiting for TFLW,
again without a job that pays. Archana, my production manager
and angel incarnate, she was like the Atlas, carrying the
weight of the production department, just by herself. Well,
I could go on… my soul-brother and assistant director Abhishek,
my script reviewer for four years Ghirijah Jeyaraj, Ranvir
who pledged his unconditional support from the moment he
heard about the plot, Shanky Mahendra and Rajesh Datar,
who did the camerawork … oh, there are just too many to
mention. I’ve had like ten assistant directors till date!
.
We hear that you were able to rope in a very decent line
up of stars. Film actor Abbas, ex-Channel [V] VJ Ranvir,
SS Music VJ Cary Edwards, Usha (VJ & model), Suchitra
(Radio Mirchi Rj). How did you meet the actors?
Well, first TFLW was this small film we wanted to make without
any money. It wasn’t a script written after we put the cast
together. One day on my job, during an interview with VJs
Ranvir and Purab, I learnt Ranvir wanted to be an actor.
I told him ‘Every VJ wants to be an actor.’ He didn’t take
that comment lightly. After we were done with the interview,
he told me that it has nothing to do with a VJ. Every body
in this world either wants to make a movie/be an actor or
cut an album/be a singer or write a book/be a writer. “I
don’t know you but I can bet you want to be a writer,” he
said. I smiled back and said: “No, I’d be the movie guy.”
“Oh, so you want to make a movie,” he asked. “No, I’m making
my movie,” I said. He got all curious then, so though I
was least interested in telling him what it was all about,
I just gave him a polite two line description of what the
movie was about and he immediately asked: Can I audition?
Man, I couldn’t believe that! He was a VJ, someone I had
great respect for. When I studied in Manipal, he had come
to our campus for a shoot. He was so funny and not even
in my wildest dreams did I think that HE would want to be
in MY movie? For icing, there was Purab, who joined Ranvir
and said: “Me too. Can I audition too?” Purab, then got
busy with ‘Supari,’ so he passed on the script to Cary,
who had just about quit Channel [V] after hosting the much
acclaimed Virtual [V] for three years. I still remember
that we didn’t have money, so the first time I ever spoke
to him was through SMS. My message to him was: “Hi Cary,
no STD, only SMS. This low budget film. You still interested?
Welcome to the film.”
There was Cyrus Sahukar too who was once a part of the film
after he expressed interest but he backed out last minute,
saying he didn’t have leave. We just had another two weeks
to shoot. And I could only think of Abbas, with whom I had
shot a short experimental film called ‘Ellipsis’ a few months
earlier. I called him, he said: Give me two minutes, I’ll
check if I have dates. Two minutes later, he calls back
to say we have. “When can we meet,” he asks. “Now?” “Cool,’
he says. Thirty minutes later, at 8.30 p.m., I meet him
at his wife’s boutique on North Boag Road. I narrate the
script and we end up talking till 2.30 in the morning. I’ve
never seen anyone more excited than him. He could so relate
to the character he was playing. And then, he told me something
that happened four months before that. He had invited me
to the premiere of his Hindi film, ‘Ansh,’ and it turned
out to be quite bad. Interval break, he asks us to come
out and asks us for our honest opinion. “Bad man … it’s
very bad,” I say softly. But I wasn’t telling him anything
new. He knew it was bad. He almost broke down: “Why does
this happen to me? I make the same mistakes in choosing
films,” he said with near moist eyes. “Let’s go for a drive,”
I suggested because the last thing we wanted to see was
him breaking down outside his own movie preview. A friend
stayed next street, so we took him there and showed him
the trailer we had just shot for the film, just to warm
up. At that point of time, Cyrus was still part of our film
and I had my whole cast. “I really wanted to ask you if
I can be part of your film that day,” Abbas recalled. “I
didn’t want to take advantage of our friendship. But I think
it’s destiny. God wanted me to be a part of this film.”
To this moment, Abbas has displayed the same amount of unflinching
commitment, passion and enthusiasm to the film. Which is
why these days I never say ‘my film,’ I always refer to
it as ‘our film.’
Oh, and Ranvir almost never made it to the film because
he was busy with his play ‘Blue Mug’ and he asked us to
postpone shoot by a month. Cary had waited a year waiting
for the film to take off by then and so we told him we can’t
wait any longer. Ranvir was already upset with us for an
earlier goof-up. When we shot in Pune, he drove down all
by himself from Bombay and couldn’t find us because he had
the wrong phone number with him and we couldn’t reach him.
He was left stranded there before we reached him 36 hours
later. He was so angry, he swore he wouldn’t be a part of
it. By now, he had cooled down but he was still upset that
we couldn’t wait for him in spite of him having done so
much for the film. “I was a part of the film even before
Cary joined,” he reminded us. But Ranvir had a regular job,
Cary did not. So we told him we had to shoot no matter what.
“Well, no bad feelings then,” he said, wishing us luck.
There was no one else who could have done that role but
Ranvir. And the next alternative we could think of was Cyrus
Broacha. How do we get Cyrus Broacha, we wondered aloud
sitting at Qwikys when a guy walked up to us and said: “I’ve
been observing you guys for the past few weeks. I’ve always
wanted to help with your film. I have Broacha’s number,”
he said. We christened him ‘Angel.’ Ever since that day,
Angel was part of our dream. He quit his job, worked with
us on the film and went back to Pune to take up a low paying
job saying we inspired him to chase his dreams.
Anyway, so we called Cyrus Broacha and said: “For us, sending
you the script and asking you to do our film is like asking
Amitabh Bachchan if he wants to work with us.” He laughed
and said: “I’m not Amitabh Bachchan. Send me the script.”
We did just that and he went incommunicado while we made
friends with his Mom over a coupla weeks. Initially she
was hostile, then seeing that we had no intention of giving
up, finally became friends and tipped us on what time we
can catch him at home. Cyrus first said he liked the script
and wanted to change the lines a bit. We were game. Then
he asked: “When are you looking at shooting this film?”
Next month, we said. “Oh, I hate to sound like Amitabh Bachchan
but I have two foreign tours lined up next month. One is
the UNAIDS conference in Barcelona where Bill Clinton will
interview me and talk about sex” (he wasn’t exaggerating
too much, it was all over the papers that he was interviewing
Clinton) and there was the Nickelodeon Chotta VJ hunt in
the Middle East.
So he took off, became incommunicado again. We got so desperate
we tried calling five star hotels in Spain through the internet
phone at Iway to reach him. No luck, people who picked up
the phone didn’t even understand English.
So we scheduled his scenes for the last four days and started
shoot. Ten days into the shoot, we reach him … this is two
nights before we have scheduled his scenes. And he now tells
us his boss Natasha didn’t want him to shoot a movie. We
then call Natasha who tells us that she didn’t have a problem,
in fact, she didn’t even know about the film. “Maybe he
doesn’t want to do it,” she said.
So that’s how Broacha pulled a Bakra on us.
And we were all so pissed off that we cancelled shoot that
evening and went for ‘Bend it like Beckham.’ In the interval,
Cary asked: “Why don’t you ask Ranvir what he’s doing day
after tomorrow?” “He will kill me,” I said. “That’s not
too bad. But what if he agrees … we have everything to gain,”
he said.
Thank you Cary, for suggesting that.
Because the phone conversation, went like this:
“Hi Ranvir, this is an SOS. We need you to bail us out.”
“Why, what happened?”
“Broacha was supposed to do your role and he backed out
last minute. We know we are being really selfish but we
didn’t know who else to ask.”
“What dates do you need?”
“Four days from day after tomorrow.”
“Okay, I’m free on these days. Because I just quit Channel
[V] yesterday. But I’ll come only for four days. And you
were going to pay me 5K a day, now make it 10K. Send me
the ticket and keep the cheque ready, I’m coming.”
Ranvir, we would have paid you a lakh a day if we had the
money! We jumped at his offer. Done!
So Ranvir was in again and we got our Zebra back.
You
are a full time reporter in The Hindu. How do you manage
to juggle between your full time job and the movie.
Well, the movie has been part of me for these five years.
I go to sleep with it, wake up with it, have breakfast with
it, take it with me to office, make it wait while I meet
different people and key in my story and then come back
home with it. A movie happens in your head. It didn’t really
take time away from what my work required of me, except
for the 20 days when we had to do the shooting. Or let’s
just say that my job isn’t really a job. It’s like life.
Everyday, I meet different people, get to know them and
write them in my diary using a little journalese and hey,
you read it in the papers. Most of my stories are conversational,
they talk to people. I didn’t find a style in it, it was
what came naturally to me. And I’m glad it worked. I don’t
see myself as a journalist or even a writer, nor do I even
claim to be. I dream and films are just about living out
that dream … you share it with a few people, shoot it for
the camera and share it with more people. It is really that
simple, leave the jargon and the work out of it.
Finding the money to shoot that dream is what is 90 per
cent of the “work,” the rest of it is what we love to do
anyway.
You
movie is five years in the making. What have been your stumbling
blocks.
Money. We always knew it can create, we didn’t know it can
also corrupt. We had a producer in Sashi who was willing
to invest about 17 lakhs in the film. That was a lot of
money for us. Until one day, Levis came and said: “Take
ten from me. I want to be part of this film too.” And then,
we decided to exploit the potential of in-film promos. We
tried more sponsors first through our own company, then
gave up and tied up with Ogilvy to get sponsors. That took
us a year and a half before deals got finalized. Then we
shot a promo. And tried some more to get sponsors. That
didn’t work, so we had to make Sashi spend all the money.
We spent about 11 lakhs making the film. We shot almost
95 per cent of it. Just another five per cent was left and
life began playing games with us. One of our cast members
didn’t have dates because she was now an RJ and said she
couldn’t spare “even half a day” because her boss was strict.
Another guy broke his knee and was advised bed rest for
six months. In that period, Sashi’s daughter was diagnosed
with tumour and the rest of the cast got busy with their
respective careers. Cary and Usha became Southern Spice
VJs. Ranvir was away, first in the middle of action, thanks
to the Pooja Bhat episode, and then out of action due to
an accident and then busy again in life with Lakshya. Getting
common dates became a hassle. Mid of last year, one and
a half years after we last shot the film, we guys got finally
together and decided something had to be done. Sashi said
he will give us the last instalment of five lakhs to complete
the film. There was no way we couldn’t shoot parts of the
film replacing two of our cast members, so we decided that
it was easier to shoot the whole film again. Abbas volunteered
to be Executive Producer, it was a shot in the arm for the
team. In the last months, we did our best to get sponsors,
but it is always difficult to get people to part with their
money in the last quarter of a year. So all we have now
are promises from different corporates, not a penny in hand.
How long can we wait? Usha had been postponing her visit
to see her sister in America for the last six months, she
got a visa some five months ago. She finally had booked
her ticket for mid April after we assured her we will finish
by March. So two weeks ago, we took the call to go ahead
and finish it, no matter what. With or without money. People
have been doing it. One of my one-time assistant director
Pradeep had got together with his friend Vijay last November
for a cup of tea. They wrote a script by November 17, auditioned
people and started shooting by November 24 and finished
shoot by December 17 and editing by January 7 this year!!
With no money at all, sheer will-power!!!
Pradeep and Vijay, today, are my inspiration.
I did this scriptwriting workshop at SRM mid last year and
at the end of it, as a part of my motivational exercise
told them to write a feature length script in 30 days and
if they did, I would personally ensure that the director
will provide them with the camera and the editing set-up
for the shoot. Early February this year, I got a call from
their director. They had a film on them. A completed one.
They, today, are my inspiration.
Money corrupts a project. Will-power gives it the boost.
Today we don’t have any money. But we have the will, we
have people, we have the spirit. What more do we need, huh?
With
so many difficulties, many would have given up. But you
*REALLY* persevere. Why?
Ah, no way. Why would we even think of giving up on something
that means the world to us. That’s like quitting life. Plus,
if you’ve spent five and a half years on something, you
surely don’t want that much of work to go down the drain,
do you? It’s just that that kept us going. This film has
changed our lives. We owe it to this film and give it some
life now.
Dealing
with high profile stars has its own difficulties. Why don’t
you use fresh faces? After all, movies like Hyderabad Blues
and Kaadhal really didn’t have big stars.
Well, like I said, the film wasn’t written for stars. The
film found these stars. Every artiste wants a script he/she
can relate to. I guess that worked for our film. Every person
involved is in the film, not because he/she is a star but
because they believe in the script and they can so relate
to it. And hey, it helps to have stars because I know hundreds
of filmmakers in the country who have not found distributors
because we have such a dim-witted system that believes in
names to sell a film. I know many completed films which
haven’t found buyers because they didn’t have stars. Even
Hyderabad Blues had to wait for four years after it was
made before it hit the screen and Kaadhal had Boys Bharat
who was a name. With the clutter of so many promos, these
days we only decide to watch films if we know some face
behind the film. Sudhish is hardly a face, Abbas is, Cary
is, Usha today is … it’s these faces you see in the promos
that actually help you make up your mind if you want to
see the film or not. And no, though we fought like mad dogs
on the project, we never had any major problems because
we always knew that each of us wanted the film to be good.
You
movie is one of the first ventures to be shot fully in digital
format. What difficulties do you face with it?
There were very few difficulties as such. Though it would
have been easier for us had we not shot using sync sound
(location sound). Sync sound is something very few have
attempted… something only what a Kamal Hasan has tried before
here in the South. Farhan did it too for Dil Chahta Hai.
And it’s the toughest thing when you are shooting in real
locations. If you shut everyone up on the set, even the
most real locations look like a set. If you don’t, it turns
too noisy that you can hardly hear the lines. Then there’s
the sound of the blast of the AC, other ambience noise …
like traffic for example, which require you to go in for
more and more retakes. This time, we’d rather go in for
dubbing. Other than that, video has its limitations. There
is the inherent danger of the film looking like a TV serial,
because all said and done, the canvas is smaller when you
shoot on video. But the advantages of shooting on video
really more than make up for the difficulties. If not for
video, most of us wouldn’t have ever made a movie!
Does
your movie have music?
Yes, we have this American rap/hiphop/fusion band called
Karmacy that has recorded a title track for us. And they
are giving us another two songs. Asif Ali, our music director
sat with Cary and recorded about 20 scratch songs, we’ve
shortlisted quite a few of them. And there’s Pravin Mani
who promised to give us a few songs. We are talking to a
few rock bands to give us their music. Yeah, the film will
have quite a bit of music. It’s about young people. There’s
got to be music.
What
lessons have you learnt in filmmaking?
Oh plenty. First as a scriptwriter, I learnt how much I
should NOT write. As a director, I learnt how much I should
NOT take from the script. A director does not just take
a script and translate it to film, he adds value and character
to the film. He eliminates words and replaces them with
visuals. He takes 95 per cent of the text and puts it in
context and uses it as subtext. I learnt that there is no
limit to how much you can add to a script. A script is basically
made up of a page a minute, it probably packs ten ideas
a page and is probably made up of, say, a thousand ideas
which tell a story. A director needs to take each of these
thousand ideas and express each of these using another ten,
twenty, thirty, forty, hundred or more ideas depending on
the importance and the magnitude of the idea, keeping the
desired impact in mind. The lessons are many. The biggest
lesson is that there are many more to be learnt. And you
won’t learn till you’ve made the mistakes. I’ve made a million
mistakes. I’d like to believe I’ve learnt a million lessons.
There
is quite a bit of money invested and there will be even
more you will have to invest. How do you plan to recover
your money?
Oh, that wouldn’t be much of a problem. Or at least we hope.
We’ve got a decent film with us with a decent cast. Satellite
rights alone these days fetch a handsome sum that would
recover entire cost of production. Besides, we intend to
distribute it ourselves in a small way, one step at a time.
It’s our baby, we will make it crawl first before it can
walk around the country and do the rounds around the world.
We will make it grow from strength to strength. We have
a few plans to market the film, taking it personally from
one city to another city. We hope to cover ten Indian cities
before it’s ready for the world.
When
do you plan to release the movie?
Ideally, during Friendship Week, the first week of August.
That’s exactly the mood we want people to be in when they
watch the film. This movie is about a gang of friends and
best watched with your gang of friends.
We
hear you are spearheading an Independent Filmmakers Festival.
Don’t know about spearheading. But yes, thanks to my job,
I know quite a few promising people out there with a film
and no avenue to release it. Together, I believe, that we
can help each other out. Off hand, I personally know and
am friends with six filmmakers ready with their films. Apart
from these, I know two other films that will be ready in
a couple of months. There are enough for a festival. So
let’s celebrate. High time we did it for ourselves. Video
revolutionizes filmmaking, it liberates a filmmaker, gives
us our freedom. Balls to conventional producers, video helps
us to show them the finger! So we’ll do that around Independence
day, hopefully.
There’s
more to our organization Made in Madras InkOperated! than
TFLW. Tell us about it.
Made in Madras was what we wanted to called our film before
we came up with That Four Letter Word. But then, it would
have been such a cliché with Hyderabad Blues, Bombay
Boys and then Made in Madras!! So we chucked the idea but
the phrase is so close to our heart because we are simple
people made in this simple city and we are proud of our
identity. In this globalised world, I think that’s something
many of us are forgetting. What was good about us! Who we
really are!! Made in Madras hopes to rekindle that spirit
of simplicity. It will be a society committed to bringing
independent filmmakers together. In a few months, we will
be make a representation in the Parliament through 45 MPs
who are a part of the film industry, via the Federation
of Film Societies, to make a case for amending the Cinematography
Act, 1918, which requires you to submit your film on 35mm
or 70mm format because the law does not recognize video
as a legitimate medium for film. In a world where digital
projection systems are becoming a norm, it is ridiculous
having to spend 10-15 lakhs on just printing your video
to 35mm film (it’s called reverse telecine) when you would
not have even spent 50,000 rupees to make your film. In
a couple of years, we will be ready to produce independent
films and make the dream of first time filmmakers come true.
We are also putting together a database of professionals
and resources available to help you shoot your film free
of cost. It will be a not-for-profit organization, run not
through money but by ink! Because great ideas just require
ink. Either you write them down or print them out. But put
it on paper. Paperwork is all it takes to make a film! That’s
the idea behind Made in Madras inkOperated! It’s also a
fun company, that’s what the pun on Incorporated signifies
and the exclamation is the statement we want to make through
our work. A form of eccentric expression!
We
notice that you use your blog to ask for volunteers for
your item dance. How useful have the blogs been? Do you
plan to leverage further?
My blog is one part of my life that I’ve made public. So
that’s how the film sneaked in and found itself into my
regular blog (http://sudhishkamath.blogspot.com). I started
my film blog (http://thatfourletterword.blogspot.com) as
an attempt to chronicle the making of the film because I
realized that the behind the scenes were larger than life,
in fact larger than the film itself. It’s been an amazing
journey of learning, togetherness and bonding as a family.
It has taught us the importance of chasing a dream and the
joy of doing it together as a team. Yes, the blogs have
been useful in generating moral support. I have at least
two volunteers for the item dance. I have people offering
me space to shoot. I’m touched. And if this interview is
going to add to the help, I will only be overwhelmed! I
will be putting down chapters that went into making the
film, so that it can be published as a book, for purely
selfish reasons. I want to give them away as souvenirs to
every person who has been part of this film. A token of
thanks. A memento.
What
sort of help would you need to help complete your film.
I hate to use the word. But MONEY! Even if we don’t get
local sponsors, we will chip in ourselves. But I just hope
it doesn’t get to the day where I have to ask my cast to
put in money too, if all the work, support and love wasn’t
enough. We are all more or less equally broke. And apart
from money, we need interesting places we can shoot, places
that will look really exciting on camera… any stretch of
road or shop or mall or hangout or studio where we won’t
need to pay for permission. We need people on an everyday
basis to play extras, we need more dancers for the item
dance, we need pretty women to make the frames look good
(women who won’t charge us, we need a couple of them to
kiss Cary), we need any sort of lights you can spare, we
need a 100 cars and bikes to create a traffic jam on a flyover
at 4 a.m. to shoot the climax!! Yeah, simple needs! He he!
What
are your future plans?
I want to continue writing because I’ve become addicted
to it. I want to finish my first five films before I turn
35. I’m ready with two of the five scripts. My second film
Watcha Gonna Do, a multi-genre spoof on American films,
will be the first production from Made in Madras inkOperated.
And, hopefully it will make enough money to fund my other
projects because I know that no producer with a sane mind
will agree to fund my third, fourth and fifth films because
they will not make money. I know there is a chance that
they might not work but these are the kind of films I think
are absolutely original. My third film, Checkbox Theory,
(I’ve blogged about my Checkbox theory) is about a six-year
old boy in love with an eight-year old girl. The film looks
at contemporary love stories from the point of view of children.
It tells us how clinical we get about love. The older we
grow, the more checkboxes we look at ticking, in our choice
of partner. The younger we are, the more blissfully we are
in love, without any specific reason. To me, that is the
pure love, nothing like first love. My fourth film, Slip
of Mind, is a psycho-thriller set in the near future where
there is no good left in the world. It’s an evil-versus-evil
tale and each character has a virtue for a name. The characters
are called Hate, Evil, Beauty, Lust, Hope and so on. It
is a very dark, philosophical film with a lot of gore. My
fifth, Bad News, will be a critique on TV journalism and
the entire film unravels through news clippings. Each scene
is a news capsule from a different channel. So each TV channel
is a character and each tells its own version of the same
set of incidents, starting from the abduction of an aging
superstar in India, which ultimately snowball to September
11. It’s a fact-meets-fiction tale that requires a year
of research. I personally believe I’m not old enough to
make my fourth and fifth films yet. I hope to grow up in
the next four-five years and develop the right kind of sensitivity
and expertise to deal with such complex films. Meanwhile,
we at Made in Madras will produce simple films, backed by
a panel from the film industry. Just a matter of time before
we get Mani Ratnam, Kamal Hassan, Ramgopal Varma, Farhan
Akhtar and an A.R.Rahman to see what we see and get them
on board as directors who will screen scripts. I personally
hope to do one film a year after ensuring that Watcha Gonna
Do releases in every corner of the world, no matter how
long that takes. High time someone showed the finger to
America’s monopoly over English films. English after all
is not their language, the Brits created it. And we are/were
closer to the Brits than they are/were. So, fuck you Hollywood!
Here we come!
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