Why the decision to move from television serials to mainstream movies?
I'm always ready to do things based on my gut. When you make things for TV, it has to be en masse because television prohibits you as far as niche programming goes. Even if there's niche programming, the numbers are so small that you can never get any creative expression. For TV your product needs to be en masse. With films, you can experiment more.
Shifting from soaps to movies, how much audience analysis do you do for new projects?
Research is not the only way to know the pulse of your audience. Research is available to everyone today but does it work for everyone? No. Asking a viewer on the road what they want would be more useful. When you make something for television or a movie, research can never overpower your own gut. When I made saas bahu serials, there was no research on the subject. Clearly, if my gut has supported it, why should I not follow it? It might let me down at times and I might make mistakes, but I will pay for it. I may hear a research; I am not saying I don't keep my ears open. My ears are open, but my nose can smell a good concept right away.
You're labelled as an overdramatic creative professional. Added to that, there are many images attached to you...
I used to be a human being earlier and now I am folklore because people think they know me even before they know me. You are going to throw a stone at us, or a mobile, your temper... and I am like, "Guys, there are no mandates! I'm a human being. Try to get to know me."
So, what don't people know about you?
I am as moody as the other person, just that I am seen more than the other person. What's different is that I am over-passionate about my work. I am just like anyone else. I am a fat girl with fat girl fantasies of eating the whole day and not putting on weight. That's my biggest dream. I hate people who are thin and are thin after eating what they want. I am just like anyone else. I did things without thinking so I shocked and I achieved.
Do you think of yourself as something of an enigma for the rest of the world?
I am an enigma for myself. I figure myself out for a while and then something happens, and then everything changes and I'm like – I changed the plot again, damn! And I thought I knew myself. I trick myself, forget others. You see, I don't want research done on me. I'd rather live my life than analyse it.
But people do analyse you – from your rings to your pujas...
I used to have a couch in my cabin. Everyone tells me it's a very suggestive couch, but I say this is for my creative work. Creative offices should let your creativity flow. They cannot be management offices. The fifth floor even had bunk beds in the office and it was very spoken about at one time. We had people working till 4 in the morning and they had to come back at 8 in the morning to edit. Let them sleep for four hours and then come back to work. If you don't rest, you will not give me any creativity. So, from my rings to my sleeping in the cabin and hearing scripts, my ideologies have been followed by a lot of people. Most of my associates who've left Balaji, suddenly ordered for a couch like that. It may not work for them – it's for my creativity.
What do you credit your success to?
I like to be on the ground. When I was doing serials, I used to watch every TV serial – mine and everyone else's too. I was obsessed with television. I was making serials for the audience and for myself. And I was in touch with what was happening. Most of us keep our social circle and our tastes very elite, and yet we want to make serials for the masses. How is that possible? When I decided to go into movies, I started going to the cinemas... I got a lot of lessons from watching people at the ground level. People just want to be entertained. Sometimes, I would want to be intellectually provoked or placated. I want to get scared in a scary movie.
Also, I never go for trials of movies – mine or someone else's. Half the time people come out, they have to say good things about your film and then you have to say good things about their films. So, I would rather not get into that rigmarole. I'd rather go to a film with my friends and I have friends from various walks of life and various strata – bankers, people from the television world, younger friends, etc. When they spend 200 bucks to go watch a movie, I see the anger if they don't enjoy the film. So, I'd do everything in my power to ensure that when you spend your 200 bucks, you enjoy your movie.
How obsessed are you with your work?
I am a psycho, I am a work junkie. I don't get sleep, so I need to get creatively motivated. On a serious note, any kind of creative expression excites me. One of my friends told me, 'People think you don't have a life, but unfortunately, it'll take them a long time to realise that this is your life. It's not that you are depriving yourself of a party sitting in office; you enjoy sitting in office'. Of course, parents only analyse these and preach!
Who do you draw your influence from?
My mother – I love her. I am flaky, flying, crying, over dramatic, overdoing it, but she's rock solid. This company survives because of her; she's great at people management. She's great in calming nerves, great in pushing people, great businesswoman. I am the one who is financially weak – always spending more than I should. Always overdependent on creativity and very little understanding of finances. We foil each other.
Apprehensions for your next " Ragini MMS"?
I have apprehensions but not fears. Like people slot you, they slot films. They think this is like "LSD" because of captured footage, but what they don't realise is that that was one camera footage for a shaky feel but this is 25 cameras for a totally new imaging. It's more like "Big Boss" and not "LSD". Also, since there's the word MMS in the title, they think it's sexual in nature. That's stupid because we can download sex today and no one is going to pay 400 bucks to watch a sex film. On the net you get free porn, so why will they go to a theatre to watch? The MMS was to get a grab footage film feel – this is voyeuristic horror.
The couple is comfortable with each other sexually, but they are not jumping at it each other; there's no dramatic heaving of chests. It's the story of a haunted house (so many people book houses to go away for a weekend). You never know if the house has a story and imagine if you bug the house. During static, spirits are captured. What if you are aware there's a spirit in the house and the fourth person – the viewer – knows that. It is actually a young horror. My third apprehension is when people doubt your intention. I do not want to intellectualise the film, and at the same time, I don't want to trivialise it. I want to make a great scary movie.
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