Renowned filmmaker Prakash Jha opened up about his latest film, ‘Amar Aaj Marega‘, which is set to premiere at IFFI. He discussed the challenges and nuances of portraying his character, his experiences as an actor, his thoughts on the evolving film industry, and updates on his much-anticipated film on ‘Sunanda Pushkar’. With a candid look at his creative journey, Jha also reflected on his close bond with industry colleagues like Bobby Deol and David Dhawan. Excerpts…
What prompted you to take up the role of Amar in ‘Amar Aaj Marega’?
Well, I really found the character of Amar very interestingly written. The director-writer Rajat was very clear about what he wanted, and I actually fell for the character because it was very relatable, very nuanced. I really liked the way it was written.
What do you have to say to those who think that after a certain age there is nothing worthwhile to do, and it’s the end?
Well, if you feel defeated, if you feel fulfilled, these are different kinds of reasons that might make you feel like life is over. I think in both cases, we struggle with our lives, our surroundings, and our losses. These are very natural human emotions. Ideally, I would say we should never feel defeated, but life doesn’t treat everyone the same way. You might not be able to take the losses of loved ones, and you might feel very lonely. So, it’s natural to feel this way, and that’s what I kind of felt with Amar.
How much do you identify with the character, if at all?
Well, personally, I don’t as I never found myself in a situation where I felt lonely or defeated, or not motivated to work. I have always aimed at continuously working, staying inspired, looking forward to the next day. So for me, I don’t identify with the character, but I can certainly understand or relate to this character.
The acting bug seems to have bitten you in a big way; this is your 12th film as an actor.
All I can say is that I really enjoy acting. I look for different kinds of characters, the ones that are pivotal to the story. It’s not the length that matters; it’s the importance of the character in the story we’re telling. I actually enjoy it. I have been attending acting workshops for quite some time now, primarily to communicate with my actors. But now, I enjoy doing the part myself.
As a director, how much of your acting talent do you showcase to your actors if they’re not getting it right?
Oh, I never do that. My idea is to get the best out of them. They have to bring their own talent to the table. My job as a director is to inform them about the character and help them find it, clearing their doubts regarding it. If I started showing how to act, then everybody would start acting like me, and I would never want that.
You have a big role to play in Bobby Deol’s life—you’ve given his career a new lease of life, and he acknowledges it too.
All I can say is that he is very kind and generous in acknowledging it. But let me tell you, Bobby is a very good person and a talented actor. He didn’t really know this because no one really understood what he was capable of. In our industry, we easily get typed and bracketed into certain kinds of characters. All actors develop limitations. But Bobby was up for something different and challenging. We worked very hard on this character. All credit to him, and that it worked in his life and career is good for him, good for me, and good for everyone else.
You spend most of your time in London now… any specific reason, or do you just want to stay away from the noise?
No, it’s not about the noise. I love the noise. I find myself amongst people all the time. It’s more like a writing retreat, a solitude. I just go away. It’s not only London but many places. I like London—I’ve been going there for a long time—but I also enjoy many other places in Europe. So, that’s my traveling bug.
Have you watched any cinema in the recent past? Why do you think smaller films and franchises like horror-comedy are connecting with the audience?
I really can’t assess why something is connecting. I can only say that people are probably looking for something different. They may not want to spend their money and time on stories that feel repetitive. They’ve probably seen enough of that, and now they’re looking for something new, even if it’s small or with lesser-known actors. The story or idea is what’s connecting. It’s not just about horror films. We saw films like Laapata Ladies that connected very well. Horror, maybe, connects due to the adrenaline, the enjoyment—it makes you laugh, experience emotions. That’s what the horror genre does. But I think it’s always about the story, and that’s what will always work.
They say content is king when it comes to the success of cinema at the box office. Do you really believe in it?
i have always believed that the story, content, and what engages people—that’s what works.
Any updates on your film on Sunanda Pushkar? When will it go on floor?
I think we are still struggling with the script and the casting. I really don’t know when it will go on floor.
How was it working with Nana Patekar in Lal Batti?
It was an amazing experience. It’s always great to work with Nana; he’s such a brilliant actor. He brings so much to the character, and I always enjoy working with him.
There was a buzz about Rajneeti 2—is it true?
I have been working on it; the story is ready, the script is ready. But it’s become very difficult to put together that kind of cast these days due to so many factors. I hope it gets made one day.
We just came to know about Agha Jani’s role in your life, the documentary on Bihar Sharif riots that made Hrishikesh Mukherjee cry.
Well, Mr Agha Jani, the art director, was instrumental in introducing me to cinema. He accidentally took me to a film shoot one day, and that changed my life. He was a very nice person and a good friend. The documentary on Bihar Sharif riots that happened back in 1981 was made after I returned from England. When I looked into those faces, I felt moved. I made that film, which won the National Award. Hrishikesh Mukherjee, who was the chairman of the film board at that time, loved the film.
David Dhawan and you learned editing together. What if he offers you a role in his film—would you do it?
Yes, David and I were together in the same editing batch at FTII. If David offers me a role, I really hope he does because I was in London when he called me one day. He had seen Mattoo Ki Cycle and was really impressed. He spoke to me for a long time about his experience and how surprised he was to see me in that role. So, I hope he remembers that and offers me a good role. Of course, I would do it.
