Onkar Kulkarni (BOMBAY TIMES; March 12, 2020)

They began their journey together in 2006 with Being Cyrus. After Cocktail (2012) and Finding Fanny (2014), this year, the duo has collaborated on Angrezi Medium. In conversation with BT, director Homi Adajania and producer Dinesh Vijan speak about their association, working with Irrfan and how that experience has changed them for life. Read On:

You have collaborated with each other since Being Cyrus (2006), and Homi, you have always worked with Dinesh. There are things that have worked and not worked where your projects are concerned, but creatively, the two of you have had an interesting journey, right?
Homi: I remember, I narrated the story of Being Cyrus to Dinesh, and he asked me how many days I would take to make the film. I had no clue, as I had never made a film before. I told him that I’d finish it in 30 days. He said that if I took more than 30 days, I would have to pay from my own pocket. By the end of that day, I was a little worried. I asked him, ‘What if it starts raining and that disrupts the shoot?’ It was like dumb and dumber (laughs!).
Dinesh: It was a level playing field. He didn’t know how to direct, and I didn’t know how to produce. We were trying our best to keep that fact hidden from the other (laughs!). The thing is that Homi and I learnt the business together and we have had an interesting journey.
Homi: The only thing common between us was that we wanted to tell stories — that was our passion. After the first film, I became a scuba diving instructor. One day, I got a call from Dinesh for Cocktail. A romantic comedy was virgin territory for me. He approached me so that I could bring my own palette to the genre. Dinesh always believed in my potential, while I have been blind towards it. One thing that has worked for us is that we have never lied to each other. Even when I agreed to do Cocktail, I told him that I still don’t believe in the story, and I will give the subject my own twist. He said that’s exactly what he wanted me to do.
Dinesh: Even films like Stree or Bala that I have backed have been as reckless as Cocktail. If I like a story, I want to tell it, and one does everything to make it happen. One week before a film’s release, I know where we stand. My average products have never worked. Initially, I would wish that I could get away with it, but that has never happened. If it is a good film, and it doesn’t work for some reason, then I am okay with it. But, if it is a bad film, then it is not forgivable.

Everyone wants to make content-driven cinema, but you also have to be a risk-taker and have the faith to go ahead and put your money in such projects…
Dinesh: In the last 15 years, filmmakers have destroyed the business because we wanted to make money beforehand and we didn’t want anyone else to make money. We also wanted to ensure that if our film failed, we would not be at risk. That model changed for us with Stree (2018). Since then, we have made money and at the same time, done better films. Nobody wanted to put their money on Stree. I had no option but to back it myself. It was all or nothing, and it could have shut us down. I will tell you about my production house’s formula. We believe that if it doesn’t fire, nobody loses money and only if it fires, we make money. A film has to run in theatres. If that doesn’t happen, it is sad as a lot of work goes into it. My upcoming release, Angrezi Medium is an entertaining film. I have no problem if you love it or hate it. But, being indifferent towards a film is scary!

Talking about Angrezi Medium, how was your experience of working on a film with Irrfan, at a time when he was battling a tough phase in his life and undergoing treatment?
Homi: Well, the experience changed everyone. It made me change the way I make my films. After all, you are making a film and not curing a disease. Don’t take it so seriously! The entire experience of shooting Angrezi Medium will always be a wonderful memory. Making this film has made me a better person. In fact, it has touched everyone in one way or another. It the kind of experience which uplifts your spirit and makes you understand what resilience is. We knew all about the risks. We went into it with our eyes open. There was no question of tiptoeing around Irrfan. The fact is that we addressed the elephant in the room. He had cancer and was undergoing treatment. And we all were living life the way that one is supposed to. Nothing has to stop at any point in your life. That’s the spirit with which we kept going. Irrfan, too, soldiered on with passion and wasn’t stressed about it. It was inspiring seeing him do what he was doing.
Dinesh: When the unit was shooting in London, I was supposed to be on set only for five days, but Irrfan asked me to stay back. He told me he feels positive when I am around. So, I stayed back for him. There was never a gloomy moment on the set of the film.

A lot of actresses (probably more popular, too) would have loved to play the role essayed by Radhika Madan. What made you think that Radhika was apt for the part?
Dinesh: A lot of actresses were keen to play this role as the first one (English Medium, 2017) did so well. So, whichever manager approached us with their client’s name, I showed them Radhika’s audition video. And after that they agreed that Radhika was apt for the role.
Homi: Dinesh showed me her audition for Pataakha (2018). I remember she had invited me to watch the film, but unfortunately, I wasn’t in town. Later, she messaged me and asked if she could audition for this role. I turned down her request and told her that we wanted a younger actress to play the part of the 18-year-old girl. Regardless of that, she sent her audition video. I was just blown away seeing her performance.

Homi, you have directed films like Being Cyrus, Cocktail and Finding Fanny. This is your first film that is in quite a desi zone, in a sense.
Homi: Yes, Angrezi Medium is very much out of my comfort zone.
Dinesh: I feel that if you have something on paper, and a good director on board, then language can never be a barrier. I felt Homi would be perfect to direct this film because he is an amazing father. He has two boys, and I have seen their equation. He also has maximum respect for writing and writers.
Homi: The film is about a parent and a child. Personally, as a father, I really get scared of some situations. You hold the hands of your little ones; show them the way, and then one day you let them go. You do that with a lot of pride and as much pain and a lot of hope in your heart that one day, when you need them, they will come back to you. This is the sur of this film. The writer got it, Irrfan got it, and then, we all were on the same page.

Dinesh, you have tried your hand at direction with Raabta (2017). When do we see you directing again?
Homi: He is a very good producer, let him produce (laughs!).
Dinesh: We do a lot of stuff for validation. As you grow older, you realise this. I thought I was enamoured by direction. When I did it, I realised I genuinely loved producing. Ten years later, I feel the urge to direct, then I’ll think about it at that time. Right now, producing is working well for me. Now that I have been through the process of direction, it helps me better my production skills, too. I believe we have a lot of directors, but only a few producers who can add value to a director’s vision. Though your failure teaches you much more than your victory, life is too short to make all your mistakes. So, you learn from other’s mistakes. Today, all filmmakers get along with each other and use each other’s creativity. It helps and it also gives a good vibe.

The film industry is going through a positive change in many ways…
Homi: (Cuts in) Of course! After all, if films do well, then it is more conducive and beneficial for us as an industry. For some strange reason, earlier, we would feel that people didn’t want someone else to do well within the industry. But that has changed now.
Dinesh: When I met a well-known Hollywood film producer, he said, “You know why Hollywood works? Because the top five people (of the industry) get along really well.” We need to take from each other if we want to grow the business.
Homi: The film industry can be wiped out if we don’t stick together and grow the business.