keep their eyes open to new talent. I have started taking risks, even opting for character roles in films helmed by good directors. Special 26 was like that. I would also like to take Boss ahead.
Why have two production houses for your films — Grazing Goat and The Cape of Good Films?
Both are under my banner — Grazing Goat and Cape of Good Films. My partner Ashwini comes up with ideas for the so-called intellectual, sensible commercial cinema so we made OMG: Oh My God and 72 Miles. And now we are making another Marathi film called Adhantari and a Punjabi film called Bhaaji in Trouble. We keep on making these along with Hindi films, that’s why I have kept these two separate companies which cover all ground. We are also making a film called Fugly. But right now we are working on Holiday.
Given that you are a star with acting commitments outside as well, how involved are you as a professional?
I hear the script once it has been whetted by the team. I hear it once or twice and then the approval comes from both of us. We don’t just settle for star power, looking instead for script power when finalising a project. The whole idea is to do different kinds of films, even a few that can actually make a difference to the society.
In the present scenario, is it now a necessity to dabble in all kinds of cinema? And of course, television.
You have to balance yourself between the entertainers and engaging cinema because otherwise the film industry won’t let you survive. You have to balance your portfolio.You have to do something different every once a while. And the way trends change every year, what you talk about today can change completely when we talk, say, a year later. That is bound to happen with the way cinema audience’s taste is changing. Even their sense of humour has changed. The way they look at a fight, cinematography, everything has changed, and it’s changing so fast that sometimes it really feels like you are lagging behind. The