They say when a director starts making films about filmmakers making films, it's basically a way to work their way out of director's block. Like with [Italian master] Federico Fellini and 8 1/2. Do you see it like that? Is there a lot of internalising yourself when making a film about making a film?
I don't know, yaar. You make the film in the same way that you make other films. So that becomes a profession like some other profession and the characters are characters. You deal with that in a certain way, and it's interesting to delve into those kinds of minds, and that kind of passion. You're not really making a film about movies, you're making a film about obsession and the desire for immortality.
The desire of a little girl coming from an unfortunate circumstance to be remembered forever. And that's why you call it, call her Khoya Khoya Chand, because it's about her dreams. And the young man who came here to become a director, but he could have come here to become anything else. So it's about dreams and not filmmaking per se.
Because filmmaking is such an internal process, I don't think a film can actually capture it. I think you'd have to write a novel because in that abstraction of words you will be able to get the idea of film. Sometimes I think that.
Still, the hero isn't doing 'anything else.' He's making movies. And so obviously this must make his character more personal for you?
Yeah, more personal for sure. You don't research as much outside as you do inside for the character, true. So there is a lot of me in the film, and it's a very romantic film. It's a tribute and it's not a film that's dark in the end. I love being in the movies, and I think that thought comes across. It's simultaneously personal, sure, not because of any relationship but because of the predicament of the director and what he goes through. The idea to make your own stuff in a commercial world.
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