I first saw Dilip saab on screen when I was six or seven years old. My family was pleased that I had made it to the prestigious St Mary’s School in Lucknow, and wanted to treat me. They asked whether I would like to go to the zoo or watch a film, and I chose the latter. That led me to Aan [1952], the first movie I remember watching. Since then, Dilip saab was my favourite as I went on to devour Devdas [1955], Madhumati [1958], Gunga Jumna [1961], and many more films.

Decades later, when I was asked to speak at the release of his autobiography [The Substance And The Shadow], I said that each of us have our mental dictionary, where we conjure our own meanings. To me, the meaning of dignity has always been Dilip saab. He epitomised sophistication and refinement.

He brought new sensibilities [to Indian cinema]; that’s what makes him unforgettable. He found a new language and style — method acting. We know that Russian theatre director-actor Konstantin Stanislavski had invented method acting. I have no idea whether Dilip saab had read about his form of acting, or developed his own style, but [the superstar] was cinema’s first method actor in the world. While Marlon Brando is credited for [introducing] the form, he was six years junior to Dilip saab, in terms of his career. Dilip saab has gone unsung on this count.

Since Salim [Khan, writer] and I began our career in 1971, we were keen to write a film for Dilip saab. Our dream materialised with Ramesh Sippy’s Shakti [1982]. After that, we went on to work with him on Manoj Kumar’s Kranti [1981], Duniya [1984] and Mashaal [1984].

The distinguishing factor about him was that he knew that if the dialogues were powerful, an actor’s portrayal should be understated. [Conversely], in a scene in Paigham [1959], he is telling Vyjayanthimala’s character how he will move cities, regardless of whether he lands a job or not. The dialogues were prosaic, but his delivery made it sound as beautiful as a romantic scene. He would always go beyond the lines and make the scene his own. Also, unlike most actors whose five takes look identical, no two takes of Dilip saab would be similar.

Nobody can romance like him on screen. Most actors are so deeply in love with themselves that even when they look at their heroines, they want to see how they are looking. But when he looked at his heroines, he admired and appreciated them. In that moment, he surrendered [himself] to her, making it look so romantic.

Over the past decades, many actors have followed his style [of method acting]. They have no idea where it has come from. Only a few artistes today have the gravitas and dignity that he did. With [the passing of Dilip saab], an era of sensitivity and culture has ended.

Anil Kapoor has the rare distinction of being the only actor who has had the opportunity of working with all the Akhtars, starting with Javed Akhtar to Zoya to Farhan to Shabana Azmi to Honey Irani. Anil Kapoor takes his time to say a yes to a role, but once he gives his nod, he always delivers more than 100%. And thus it comes as no surprise that his role as Ranveer Singh's father in Zoya Akhtar's Dil Dhadakne Do too has got him rave reviews. Over an hour-long conversation over poha and chai at his plush Juhu home, he talks to Bombay Times about his friend and biggest ambassador Shabana Azmi, how Javed Akhtar turned from hating to loving him and why he considers Zoya to be a true international director. Excerpts:

You are the only one who has worked with Javed Akhtar, Shabana Azmi, Honey Irani, Zoya and Farhan Akhtar. Who were you closest to first?
If I am close to anyone in films, it's to them. I first met Shabana while shooting Ek Baar Kaho. I was a junior artiste in the film and had gone to Kalimpong in a train, where I first met her. She saw me and asked who this Punjabi Smart Aleck trying to be an actor is. She told me later how she was completely put off by me till she saw me perform. By the end of the 40-day shoot, we had not only become friends, but by the time I had returned home, Shabana had already spoken to my family telling them how their son would become a big star. My dad had been Shammi Kapoor's secretary and had become producer, but having Shabana, who was this huge National Award-winning actress say that I was a good actor was like getting a medal. She started recommending me to all her directors and friends and sent me to many people. I did many small roles, but wanted to be a hero. Salim-Javed at this time were huge and it was also the time that Javed sahab started seeing Shabana. Javed sahab used to literally hate me and thought that nothing could happen to my career. He felt neither did I have a personality nor the presence and I knew from the vibrations I got from him that he just didn't like me and on the other hand, was Shabana trying really hard somehow to get me work. I had done a Telugu film directed by Bapu and was showing it to Shabana, when Javed sahab happened to see the rushes. His whole attitude changed seeing my performance and can you imagine he recommended me to Ramesh Sippy, who was at that time supposed to make Meri Jung. The film got shelved, but the announcement came in the paper and that announcement was enough for me to take off. The turning point of my career was when Javed sahab recommended my name to Yash Chopra for Mashaal. Yashji cast me in a small role, but Javed sahab was convinced that I should be in the lead opposite Dilip Kumar sahab. How he manouvered and convinced Yashji only Javed sahab knows and can do. I remember at night he sat with Boney (Kapoor) himself and edited what he wanted to show Yashji. There was a scene where another girl had worked better than me and Javed sahab said, 'Is ladki ne Anil se better kaam kiya hai, iske close up nikaal do.' Boney and Javed sahab edited together to show to Yash Chopra. Then he showed the same to Yashji's assistants and told them, 'If you want to be a director tomorrow, koi hero toh haath mein hona chahiye na tumhare? Bhai mujhe toh zabardast lagta hai! Aap log dekh lo. Be friends with him. When he becomes a star, at least your career will get launched. When Yashji asks you, tell him.' I got the role and lost three kilos wondering how Yashji had taken me along with Dilip Kumar sahab. A guy from Chembur, who had done small roles till now, had been cast in a Yash Chopra-directed film, written by Javed Akhtar. And that became my turning point. The film didn't do well, but I was on the cover of every magazine and the next day Subhash Ghai sahab, who I had tried and tried with earlier, cast me for Meri Jung and I became an overnight 'A' list star.

Talk about your relationship with Shabana Azmi?
I always looked up to her as an actress and friend. She would say, 'Come there, come there.' I would say to her, 'I am not coming.' I always wanted to be known only for my work and was very conscious that people should not mistake my respect and fondness for her as an affair.

What about your relationship with Javed sahab today?
Over the years, it has only grown stronger and stronger. If I really look up to anybody in the show business, it's him. If he calls me up for anything, I can't say no. If not for him, I don't think I would have been an 'A' list actor. He helped me take the leap. I feel the industry would be incomplete without him. My life would have been incomplete with out him, not just as an actor, but as a human being. I have learnt so much from him. His so many words have gone into my ears about life, about the show business, of how to make a big film, how to take the leap. He has entertained me so much and given me so much of joy. Nobody has made me laugh in my life as much as he has. It's been more than 30 years that I have known him and I look up to him and respect him too much. Javed sahab is emotional, he is an achiever and I admire the way he has always conducted himself, be it in the industry, in his relationships, in his family and with his friends. He is very special and for me, even if I am too biased, he is perfect. The contribution of Javed sahab and Shabana is 360 degrees in my life. Today, I am equally close to both of them. I just love being with them and talking to them.

Is it true that you were reluctant to play the role of a father to stars the age of Ranveer Singh in films?
No, it's not true. For me what is important is just the role. I take my time to say a yes. I agreed to playing Ranveer's father in Dil Dhadakne Do as I thought would I say a yes if this had been an international film. In my mind, I had already said a yes. Also, the commercial details were being worked out. Till one day, Javed sahab called me and said, 'Sarkar, wig pehaniye aur kariye sir.' I can't argue with him. That phone call put pressure on me and I immediately said, 'Done sir.'

How was your experience working with Honey Irani (Zoya and Farhan Akhtar's mother)?
I had broken my leg and was in bed when Honey first came to narrate the script of Lamhe to me. For me to be friends with anyone, you need to be talented. During Lamhe, Honey was on shoot throughout. I was so impressed with her writing that when I was not shooting, I would look at her to admire her and became really friendly to her and fond of her and started enjoying her company. And then when she wanted to direct her first film Armaan, she narrated me her story and I said, 'Done, I am doing it.' The film didn't do well, but our friendship remains and I constantly want to do a film with her. She is wonderful, has a great sense of humour, she is a fantastic writer and can be a fantastic director. I don't know why she is not making films. I can trust her completely and there is not an iota of negativity in her. She is only about positivity and love. She is like a friend, a mother and is just niceness personified, as she is a good human being who has no manipulations in her. It's great to see how Honey has conducted herself and her family and made everything so beautiful. There is so much to learn from her.

You have worked for the first time with Farhan in Dil Dhadakne Do?
He really wanted me to do Don, but I didn't like the role. I told him, 'Kuch kar yaar. Just give me one good scene in the film and I will do it.' I knew that he was Javed sahab's son, so how could I say a no to him. Farhan really tried to write that one good scene, but it didn't happen. Everytime I see him, he surprises me. Sonam has good judgement of people and she told me, 'Dad, he is a really nice guy.' I started working with him and realised that he is a true gentleman. He understands, he is much more evolved than many actors I have worked with. He will give you all the respect and love and has a great sense of humour. Despite being in an ensemble film, where he was also the producer and actor, he never overstepped and gave Zoya all the space as a director. If I was in his place, I would be more interfering. The reason he is what he has become is because he is the kind of person who will not waver, he is not corrupted yet. He is diplomatic and knows how to zip his mouth. He is also one of the most intelligent people I have met in the industry.

Your experience working with Zoya Akhtar?
She is not just intelligent. but her emotional quotient is very high. Both Farhan and Zoya have taken their brightness from Javed sahab. She could easily have gone to someone else for my role in Dil Dhadakne Do, but she was determined to take me and she just didn't give up. Given her aesthetics, her understanding, her worldly wisdom and her pitching of her film, I truly feel that she has it in her to become a big world class director.