BOI: What has the journey of Ajay Devgn Ffilms been like so far?
Ajay Devgn (AD): It’s been very good. We co-produced our first film in 1996 – Pyaar Toh Hona Hi Tha. Then we made an array of films like Hindustan Ki Kasam, Dil Kya Kare, Raju Chacha, All The Best, Bol Bachchan and Son Of Sardaar. So it’s been fabulous, touch wood. Except for Raju Chacha, where I got very ambitious. The film didn’t do badly but the budgets were too high. We were talking of a Rs 30-crore budget 13 years ago.
I had built a set and we were doing animation for the first time but I was happy that it was us who introduced CG in India. Apart from this film, all our other films have done well and made money. My intention is not to make just films but to only make good films. Otherwise, I would be making ten films a year! The idea is to make good films and to get the right scripts. In fact, currently we are working on four or five scripts, which will go on the floors in a few months. As always, they’re progressive cinema but also entertaining.
BOI: You were the first actor to get into production.
AD: (Cuts in) Yeah, I think so! Kuch scripts aisi hoti hain jinko padhke lagta hai ki yeh aapko bannani chahiye. And you always want to experiment with it. Like Dil Kya Kare was one of those films. It did very well overseas. There were some scripts that I really wanted to make and Raju Chacha was an ambitious one, where I wanted animation of that level. And which I didn’t think any other producer could have thought of at that level for me and could actually do it. That’s why I thought I might as well do it!
So, it’s all about belief in a film and if you rope in someone else, he or she would want to chip in with their ideas. You may want to make a particular film your way and the other person may not be on the same page. Some people approach you with their vision and if you believe in their vision, you team up with them. At the same time, when you come across a film and you think only you can justify it, you go with your gut feel.
BOI: You have a very lean, mean organisation.
AD: I believe that few people can do their job but it is very important that they know their job. Today, when we meet with corporates, Tees log aakar baith jaate hain, ussmein se 15 log kya kar rahe hain hamein pata hi nahi hota. Meeting kis baat ki ho rahi hai pata nahi hota. But that’s how they work and this is how we work. We know what we’re doing.
There are no chairs here, there are faces. This is the basic difference between a corporate studio and a production house. I don’t mean to criticise corporatisation but too many cooks can spoil the broth. A crowd only leads to confusion. But our company knows who’s doing what, their respective strengths and weaknesses, and each one of us gives our best.
BOI: Kumarji, what is the difference between producing a film in the ’90s and
producing one now?
Kumar Mangat (KM): Aisa kuch major difference nahi hai. Some make movies to make money and some make movies they believe in. There are filmmakers who make films for the audience, not for themselves.
AD: Pehle on principle agar sirf bolne per commitment kar diya toh the project is locked and nothing is going to change. Maine word de diya hai toh film kar raha hu, price is secondary.
Aaj 400 pages ka contract banana padta hai. So somebody asked me, ‘Is it good or is it bad?’ I said it’s good business but woh ek warmth chali gayi hai. So it is like global warming! You can’t stop your business because the earth is suffering. So it is like the industry is suffering from global warming but it is good for business, I guess.
BOI: Kitne changes aaye hain?
KM: Pehle family ke bande ki tarah kaam mil jul ke karte the. Ab ek structure ho gaya hai. There’s no feeling left. Earlier, a bunch of people would come under one roof and live happily. Today, we see more heads but none of us is happy. Unity doesn’t exist any more. Also, technology has changed, which is very good. The increase in the number of cinema halls has helped business grow, which again is a very good thing. There’s some amount of transparency in business today, which is also a welcome change. So I would say that the feeling and sentiment has changed but business is growing.
BOI: It was Ajay’s creative decision to become a producer. But many in the industry must have asked you why he was becoming a producer.
KM: Bolne wale toh bolte hi hai. Jo decision unhone lena tha woh le liya tha.
AD: Shuru shuru main log bolte the because yeh tab fashion nahi tha. Now everyone has become a producer. Today, as you mentioned, I’m told that I was the first to get into film production and it was a wise decision. What people felt then and what they feel now are two different things.
I have backed only those films that I felt that no one else would pay as much attention to as I did. Even today, I don’t produce every film I am a part of. If I believe in my instincts, I should also respect other people’s instincts. And if they approach me with a project and convince me, I will stick to their conviction.
KM: Jo transparency business mein shuru huyi hai woh hamaari wajah se shuru huyi hai. Usse pehle logon ko pata nahi tha ki business hota kya hai. We were also the first to get into film distribution. We take pride in saying that we introduced transparency into the system and it opened everyone’s eyes.
BOI: You first got into distribution and then into production. Why in that order?
KM: I would not like to name a film or name the people behind that film, but I will say that we did a film many years ago and it turned out awesome. Although it was a well-made film, the people behind it and the distributors of the film didn’t promote it to the fullest. The film went unnoticed and we felt bad. That’s when we decided to go ahead with distribution, to give our best to deserving movies.
BOI: All the films you have produced feature you as the lead actor in them. Do you see that changing?
AD: Yes, that’s changing! Like I said, we are working on four to five films right now. Out of them, only two of them feature me in the cast.
BOI: Apart from being the first to get into production and distribution, you’ve always believed in budding talent and have worked with first-time directors.
AD: (Smiles) Anees Bazmi, Rohit Shetty and Bunty (Milan Luthria) started with us. When I worked with these guys, they were all new directors and now they are very big directors. I am going to do the same in future too.
BOI: Looking back… What made you sign Prakash Jha for Dil Kya Kare
although he was in a lull phase?
AD: I heard the script of Dil Kya Kare and, yes, Prakashji was going through a lull phase. I told him I loved the script a lot. It was a unique script at the time and I wanted to promote films like that. So I asked him if he would let me produce it. He agreed immediately. Basically, I am the only commercial actor who started dabbling with films like Thakshak or Zakhm because I wanted to balance things. I have learnt a lot from Bhatt saab (Mahesh Bhatt), Prakashji (Prakash Jha) and Govindji (Govind Nihalani). My growth as a performer has come from their abilities.
BOI: After Dil Kya Kare, you worked with Prakash Jha again, on Gangaajal, which was like Jha-sir’s revival in commercial cinema.
AD: Because I believe in that kind of cinema. I feel Prakashji found a great balance between telling a story, engaging the audience and saying something more. You don’t expect films like these to do extraordinary business because they are also social-oriented. Somewhere, you should do films like these as well as long as they are not disasters. They are like oxygen to acting and the other films are oxygen to stardom.
BOI: You have stood by directors, regardless of their track record. Did you do that to create goodwill?
AD: It is not about goodwill! Rohit and Bunty started their careers with me as assistants. We shared a great rapport and I promised them that I would do a film with them whenever they were ready. And that’s what I did.
BOI: The fact that your banner carries your name, do you think it becomes a liability sometimes given your stature as a star?
AD: One has to be very careful with what you are associating with. Now, I can’t name the film but I wouldn’t want to be associated with a vulgar film.
BOI: What type of films does Ajay Devgn Ffilms stand for?
AD: Commercial, good… everything! Where people like watching the film and where you can make something that is sensitive and nice, and which is still commercial.