COMMERCIAL FILMS GIVE ME STRENGTH: MANOJ BAJPAYEE
The actor says that he uses his mainstream films to get a bargaining power for his smaller films, adds that acting is done mostly for passion
While most actors have one or two releases a year, this year, Manoj Bajpayee will have six. The National-Award winning actor has extensively showcased his histrionic skills in films such as Aiyaary, Baaghi 2, Missing, Satyameva Jayate, and Love Sonia, but is most excited about his latest film Gali Guleiyan, a psychological drama about a man, who is trapped within the city walls and in his own mind. The actor visited the office of Hindustan Times with the director of Gali Guleiyan, Dipesh Jain, to talk about the film, the changing times in cinema and his selfish motive of wanting to work with new talents.
Manoj, when you work in commercial films such as Baaghi 2 and Satyamev Jayate, do you put yourself in a different gear as opposed to when you are working in a film like Aligarh (2015)?
Manoj: I believe that cinema is a director’s medium, and it is wise for actors to go with the vision of the director. That’s what I do and that’s why changing gears becomes really easy. You can’t become arrogant and not listen to your director. When I work with Ahmed Khan (director of Baaghi 2), I support him and do just what he wants me to do. When I worked with Milap Zaveri (director Satyameva Jayate), he used to tell me, ‘Manoj sir, bahut zyaada pause ho gaya. Aligarh ban jayegi film’. It’s then that you realise that the format [of commercial films] is different, and without any ego, you just flow with it.
Do you think your smaller films get some mileage out of the commercial films you do?
Manoj: I use my commercial ventures to get bargaining power for my smaller films. The distribution and exhibition network find it hard to give a wide release to a small film like Gali Guleiyan. But whatever screens they give us, they are the best of theatres. That’s when my presence in Satyameva Jayate matters. When I try and set up an independent film, I find it easier to find a producer for my films. By doing commercial films, I get a lot of strength and power.
At this stage, after all the accolades that you have got, is commercial success very important for you?
Manoj: Everything is rolled into one. When you are acting in a film, you aren’t thinking about anything else. Work satisfaction is very important, because when you decide to become an actor, you face resistance from family and society, yet you rebel, not just for the cheque. Money matters but you act for the passion.
Why did you decide to direct a psychological thriller, Gali Guleiyan, for your debut, Dipesh?
Dipesh: Why not? It is one of the most challenging genres and the film-makers I admire have dealt with this genre. I loved Roman Polanski’s Knife in the Water (1962), Martin Scorsese’s Taxi Driver (1976) and Ingmar Bergman’s Wild Strawberries (1957). I think the biggest battle for humans is to know the mind. Maybe, I am crazy enough to start my journey with this genre. Everyone told me this was a risky project but I like challenges. I was scared and nervous, as this is my first film but I took up the challenge. If I fail, I want it to be with a film that I wanted to make.
Is the actor in you gratified with the various mediums out there?
Manoj: Yes. This is the time actors can show their talent. I have always said, only 25% of my ability has been used. There is so much restlessness and desperation for good roles. Today, every second film or series on OTT platforms is blowing your mind and you want to be part of this movement. You don’t want to be left behind. I want to be counted and for that, you have to be accessible to newer talents. It is a selfish move from my side.
You are known to pick difficult roles but what was it about this film that appealed to you?
Manoj: Over the years, I realised that if you want to be different, you have to look for directors who have grown up watching world cinema. With the digital medium, the world has shrunk and the storytelling has changed. If you are interested in being relevant, look for scripts from directors such as Dipesh (Jain), Anurag Kashyap, Devashish Makhija. They are a product of today’s times with a completely different kind of inspiration from film-makers who have been in the industry for years. I love watching series, short films and other interesting content but I need people to guide me there, which is where people like Dipesh come in.
Have you ever given suggestions to any coactor regarding the character or their scenes?
Manoj: Yes. Before suggesting, I say ‘sorry’ five times because it’s his character. Recently, I worked with Sushant Singh Rajput in Son Chiriya and very hesitantly told him you could do the scene this way, and they listen to you very politely. They change it if they want to and if they have some other idea, they explain it to you. You understand and back out. You can’t be interfering. You have to be careful because you are getting into someone else’s zone.
While casting Manoj Bajpayee what was your thought process?
Dipesh: When I wrote the script, I had him in my mind. I have seen quite a lot of his films, but when I was writing this character, it wasn’t based on any of his previous roles. I wasn’t star-struck but concerned that if he said no, then it would be tough for me to imagine someone else in this role. When we started the film, we were clear that we wanted to give the audience a cinematic and immersive experience. They should understand what it would feel like to be lonely and feel his paranoia. Manoj’s performance was crucial because when you’re only asking someone to pull in the audience through their physicality, not many people can do that.
You were basically working without a ‘Bollywood baggage’ or an image.
Dipesh: On the contrary, I knew the script worked
Today, every second film or series on OTT platforms is blowing your mind and you want to be a part of this movement. You don’t want to be left behind. MANOJ BAJPAYEE, ACTOR
because it had garnered international appreciation and was drawing attention, not Manoj’s though. He was the last one to get cast. Usually, in independent films, you cast a popular face, and then package the whole film. I had got Neeraj Kabi, Ranveer Shorey, Shahana Goswami and others. We were two months away from the shoot but we couldn’t get hold of Manoj. As a writer, it is such a complex character and I was attached to it, and luckily a friend called Manoj. He read it and liked it.