Noted filmmaker Subhash Ghai, whose filmography includes Karz (1980), Hero (1983), Ram Lakhan (1989), Khal Nayak (1993), Pardes (1996) and Taal (1999), continues to adapt to changing times. At 81, he is studying AI and connecting with Gen-Z through his film institute. Often described as Indian cinema’s biggest showman after the legendary Raj Kapoor, Ghai has little patience for the epithet.

He says, “The showman title is bakwaas. We never made a show of it anywhere... Because I don’t want to live in my own ego and self-boasting titles. I am a small filmmaker, a student of cinema who wants to learn every day. Today I am learning and connecting with Gen-Z through my school. I firmly believe that we can teach each other a few things.”

In an exclusive conversation with BT, Ghai discusses discipline, stardom, filmmaking and the changing dynamics of the Hindi film industry.

Discipline has been central to his filmmaking. He says, “All our films, since Karz, have had their muhurat on October 24 and most have been released in August the next year. Why October 24? It’s my marriage anniversary and the founding anniversary of my production house and film institute. Till you don’t set a deadline, tab tak aap kaam nahi kar sakte. You might take years to find a good subject. But if I have to work on it till August 15, then I will have to find a good subject. That discipline is important. It is also important to make films within a set budget. None of our films have gone over-budget.”

He adds, “Today, every project is facing two problems: the star’s availability and access to funds and studios. That’s why we didn’t make any films because the whole wind is going against our will. So, it’s better to make small films instead of showing that I am making such a big film ki 1000 crore ki hai ya 500 crore ki hai.”

Ghai believes writers and directors are often overlooked once an actor becomes a star. He says, “An actor becomes a star when he delivers a memorable performance, the film succeeds and his character becomes iconic. But who creates that character? The writer. Who brings it to life? The director. Yet, neither receives the same recognition; the credit goes almost entirely to the actor. The problem is that when you work with a star, the script often begins to revolve around the star. With a newcomer, however, the actor is more likely to adapt to the script.”

Recalling Pardes, he says, “When I wanted to make Pardes, Shah Rukh Khan was the only established actor I had on board. Many stars wanted to work with me, but I was adamant about casting a newcomer opposite him. Agar kisi established actor ko lete toh shayad praise zyada milti. The character, not the market, should decide whether it needs a star or a newcomer.”

Ghai believes the disconnect between some contemporary films and audiences stems from filmmakers prioritising personal conviction and expression over the sensibilities of a wider audience.

He says, “Pehle bhi achhi filmein aur kharaab filmein banti thi, aur aaj bhi. The problem is that most of the younger generation today makes films based on their own convictions and ideas, which don’t necessarily match the audience. Our films matched because when we made them, we would identify who the front bencher was, who belonged to the middle class, upper middle class and balcony. Our films were made for all four sections. Ab aisa hai ki jo main kahu woh kayda... this is my expression and my voice, and that is individualistic cinema, which is essentially meant for a niche market. There are different names for it, like experimental, parallel, personal voice, issue-based or art cinema.”

Ghai sees AI as another technological shift rather than a threat to cinema. He shares, “Jab black-and-white ka era tha tab sochte the ki colour aayega toh kya hoga, saari authenticity chali jaayegi. When cinemascope came into being, they said who will watch the movie on such a big scale. Toh technology ke against toh hamesha se rahe hain aur yeh aagey bhi chalta rahega. AI is artificial intelligence created by man. Real intelligence is you, your heart, mind, spirit and your thinking. Bas aapki story achhi honi chahiye, sense of framing and narration should be strong.”

Social media, however, gets a more sceptical assessment, particularly given the renewed popularity of his controversial Choli Ke Peeche Kya Hai song on reels. Ghai recalls Taal’s rocky opening: “When Taal released, it was criticised a lot in the first two days, only to pick up pace from the third day. Agar social media aaj ka hota toh Taal ki dhajjiyan uda deta. It would have been destroyed within two-three days. Courage is very important,” he says, ending on a defiant note: “Jo darr gaya woh marr gaya!”