From A Nightmare On Elm Street to The Mask, Eraser, or Scorpion King, film writers find it difficult to pin you down to a genre because your films are so vastly different from each other. Your next is not just a different genre but a different language as well. What are you doing helming a mainstream Bollywood film after these projects? What space should we expect Junglee to be in?
I've always been fascinated with world cinema and find myself excited to try new genres whenever possible. I find it a bit of a miracle that an emotionally truthful film can communicate joy or hope in any language. To me, that is the highest achievement in film...transcending language to touch audiences around the world. It is an opportunity to remind ourselves we are not so different after all. Junglee is an action-adventure film with touches of comedy and romance. It's the story of a successful young veterinarian in Mumbai, who must return to an elephant reserve in the jungle, when the elephants he loved as a boy are in jeopardy from an international gang of poachers. My goal is to make a film that is true to India, but uses the music, dance and the wonderful artistes in Bollywood to tell a universal story about returning to the natural world. When our producer Priti Shahani sent me the original story, I knew almost immediately it was something special... an opportunity to use humour, heart and thrilling action to tell a tale that could address a global problem of the threat to these magnificent creatures.

As someone who first made a mark with small budget, indie films, what is better for you, creatively? A small film might not have a budget for your vision, but a big studio film might have less elbow room for your creativity.
Honestly, there are advantages to both. I enjoy the sense of teamwork on smaller films, as you face these remarkable challenges in a very personal way. You have to solve problems creatively, which can lead to more original results. But there is also a thrill to leading the small army of a studio film. It's a bit like being the ringmaster of a large circus. The secret to happiness on a studio film is balancing your passion to tell this particular story with a clear understanding of what the studio expects and the flexibility required to please those responsible for costs. If all this is done in harmony, you can have a great experience and tell your story with quite a big bang.

In Hollywood, films on the human-animal relationship have evolved as a genre with multiple subgenres from comedy and drama to children's films and films for grown-ups. But Hindi films on the subject are limited, and well, tend to get quite syrupy. Some of us may remember movies like Haathi Mere Saathi and Safed Haathi (do see them if you get the time), but there haven't been many in that genre to have made a mark. In more recent times, the most well-remembered animal character is perhaps a match-making dog, Tuffy, from the top-grossing Hum Apke Hain Koun...! What do you plan to bring to the Indian audience that is usually starved of coherent animal-centred stories?
I'm a big animal lover and have always seen animals as simply part of my cast. In fact, I've had producers wonder at my “casting sessions“ to find the right animal. In Junglee, I hope to take all that a step further. Three elephants are key characters in this story and I hope to capture their personalities just as well as the human stars.

Before coming down to work here, how closely have you observed the Indian film industry? It's largely star-driven, though several story-driven films have recently gone on to become hits. Your story is something Bollywood hasn't touched in a long time. Given that background, what is the homework you come with, the approach you plan to take that makes you think it will work with the mainstream audience?
I've been engaged with Indian cinema for a few years now, as I've proposed other co-productions that require international casts. I've always felt there is great talent in Bollywood, and have visited Mumbai several times. Hollywood is also star-driven, but as a director, some of the most fun I've had, has been launching new stars. I feel that the audience is always looking for something new and original, so I tend to jump at the chance to give it to them. Junglee is definitely that kind of an opportunity. I've told you I was inspired by this story when I first read it, but I was equally inspired by our leading man. From the time I met Vidyut Jammwal, I could imagine no one else in this role. He has charm and good humour that is rarely combined with such natural physicality. In that way, it reminds me of meeting Dwayne Johnson for the first time for his lead role in The Scorpion King. Certain things cannot be coached by a director, and that bit of charisma which makes a performance really shine is what we're looking for. I spent two days with Vidyut in Mumbai and I can see that potential.

The Animal Welfare Board of India is also known for making shoots with animals difficult for filmmakers, with the result that a lot of films that want to include animals, shoot such sequences abroad. How prepared are you to deal with AWBI's rules and red tapism? Is shooting abroad or with visual effects for particular scenes also an option?
I assume the rules are there to protect animals and natural environment which happens to be the theme of this film. So of course, I support it. In the West, I've worked under similar guidelines with good results. I wouldn't put an animal at risk or under stress any more than another member of my cast. Part of the responsibility of making this kind of a film is improvising to what works best for the animals. And yes, going to CGI or other kind of effects is a good option, if that is not possible. In the past, I've changed a script to play to what an animal actor already does best naturally. As far as red tapism goes, I can only hope the AWBI understands our message and helps us move things along. But I certainly welcome their guidance in addition to my own standards.

Since Junglee tackles the issue of poaching, are you prepared to question the system or the conditions that have allowed it to thrive? And does that make you anticipate trouble from that system? How tough is it to fight against poaching, globally?
Personally, I have no concerns about questioning the system of poaching and ivory sales. In fact, that is a large part of what's drawn me to this project. While I understand that some feel that they have no choice but to make a living this way, it is specifically our hope that this film will shed light on why this is a horrific practice, and generate constructive efforts to stop this from continuing.

In the documentary space, wildlife or nature films made in India by Indians are a dying breed. The best nature films have been made by foreign filmmakers and studios. And now Bollywood is entering this domain with you at the helm. Why do you think Indian filmmakers are not able to harness our own wildlife onto celluloid effectively?
I don't know if that's true. I'm quite impressed with Indian filmmakers as they seem to express themselves with unique freedom, using high drama, comedy and dance unlike any other culture. The documentary space, however, often requires funding and sup port from like-minded organizations. If that is available to Indian film makers, they are certainly capable, if inspired to do so. Junglee is not a documentary, but my feeling is that a truly entertaining action-comedy has the potential to send a positive message to the audience that might normally avoid documentaries.

If you have any degree of familiarity with Indian mythology, you may be familiar with the elephant God Ganesh and Indra's vehicle, the elephant Airavat. Despite such cultural embedding, we aren't quite there in terms of sensitivity or effort when it comes to keeping these grand animals safe. Do such contradictions surprise you?
I am familiar with Ganesh from the incredible artwork I've seen. I'm quite fascinated with mythology from various cultures and have always believed God presents Himself to different cultures in different ways. I also see God in these animals. Maybe, I can express a little of that in the film. The fact that the positive spirit of animals is reflected in Hanuman, Ganesh and other deities means Indian culture recognizes that spirit. Perhaps the contradiction comes in the fact that it's easier to imagine that spirit helping us, rather than us helping earthly animals in our day-to-day lives. Simply being aware that buying ivory is dishonorable is a major step in putting an end to the problem of poaching. That's pretty easy, isn't it?