Considering the fact that web releases are consumed by cinewatchers at a time that’s most convenient to them, the OTT boom has eased the stress related to a ‘Friday box-office performance’. But the day of his film’s release is still a euphoric one for Mahesh Bhatt, who has spent decades keeping tabs on the opening numbers of his movies. Bhatt’s Disney+ Hotstar production Bloody Ishq, which aired on the platform on Friday, opened to mixed reviews. What makes the offering particularly special, however, is that it marks a prominent commercial release for actor Avika Gor, who acquired immense fame as a child actor for her role in the teleshow, Balika Vadhu.

The casting, though unusual, is not a surprising move, given the fact that Bhatt has consistently invested in actors instead of ‘stars’. “[Late producer] Rajkumar Barjatya told me something vital during [the filming of] Saaransh [1984]. I was in search of a producer for the film. Sanjeev Kumar was a dear friend. People had assumed that Sanjeev would lead the film while Anupam [Kher] would be the second lead. But Anupam insisted that he lead it. He [spoke with] passion, and I agreed. When Sanjeev saw the film, he admitted that he wouldn’t have been able to do what Anupam did. Mr Barjatya told me, ‘You pick the actor you believe in, kyunki, ultimately, chalti toh picture hi hai’. Today, Anupam has done 500 movies, and Saaransh was a defining one for him. Since the release of Raaz, we have predominantly worked with new people. When the hoopla passes, the movie stays with you,” says Bhatt, lamenting that today, producers choose to invest in stars to make a project “safe”.

Calling the new breed of movie-makers “risk averse”, he says, “Moneybags know that star power makes a project safe. But, I don’t want to rely on the star to do well. I want our story to hold people’s attention.”

Easily among the names who’ve contributed to creating the identity of horror films in Indian cinema, Bhatt believes the decision to determine if the genre has evolved significantly over the years rests with the audience.

“We achieved a breakthrough with Raaz. Horror, until then, was seen with disdain. By stitching good music and keeping human relationships at the narrative’s core, we made a spectacular film. And while we made several franchises in the genre, I don’t think [today’s filmmakers] have been able to break new ground as storytellers. Filmmakers of yesteryear had a gambler’s spirit. Now, executives decide when to greenlight films. Storytelling today is not as path-breaking as it was a decade ago.”

He points to his daughter Pooja Bhatt’s film, Jism (2003), to further his case. “No one thought that a leading lady would promote the idea that ‘the body knows no love, just lust’. To make edgy, neurotic films, you need a free pass.”

Even though production houses have become commercially aware in the aftermath of the setbacks they faced during the pandemic, several artistes have faced challenges due to the industry’s changing norms. “It is difficult to make content these days. Even in Hollywood, people who have been in the industry for years are seeking alternate jobs. The industry is in shambles. The traditional way of movie-making is getting outdated.”