Dia Mirza: I chase dreams that fulfill me

Dia Mirza: I am very humbled and honoured to be here. We are going through a very interesting time within the country and there are many active changes taking place. If you are a woman and an actor, it does not mean that you have to contain or limit yourself to just being that. In recent years, actresses have started expressing themselves and now the audience and even the corporates are interested in what they do.

When I started out, at 19, I was told, by the media and the film industry to do a certain kind of films and work with certain kind of stars. Coming from a non-filmi background, I did not know how to go about it, as there were different people trying to push me in various directions.

After three-four releases, I wanted to prove that there was more to me than just being a good-looking girl. During my growing up years, I was told ‘beauty is not important, don’t let it get to your head, it is not what defines you’. But in this industry, everything revolved around how I looked! I felt lost and confused and was under a lot of pressure. That’s when I thought, ‘I can’t lose me. What am I doing here? I’ve been given this great opportunity to be a part of some grand films, but I never had the time to enjoy it’.

I never gave a thought to those 200 individuals who come together to make a set, light it up and make me look the way I did for a film. I did not pay heed to the efforts that went into writing a script. I would be told, ‘you are getting to play a role in this film which has a superstar and four great songs, why are you interested in the story? Just do it!’ But that didn’t help me evolve as an actor, so I learnt to refuse such films which gave me a feeling of empowerment. At that time, my work was managed by an individual as opposed to an agency. He thought I had gone mad and said, ‘This way there is going to be no work. Work attracts work.’ So every time during an interview the standard question was ‘how many films do you have in your kitty?’ I realised that nobody was interested in who you are and your choices. When I stepped back, I got Parineeta and that changed my life. Working with Pradeep dada (Sarkar) and Vidhu Vinod Chopra, I realised that there is a method in this madness. We only have to be able to open our minds to it. I noticed this because the film-makers made me a part of the process. As an actor, I had worked with people who did not believe in including me. The script would be given to us on the sets 15 minutes before shooting. If we tried to ask questions, the producer would tell the costume designer, ‘just make her look good’. It was all very confusing until I did Parineeta. That is when I thought ‘I don’t have to feel stupid anymore. If I work with a certain sensibility and certain kind of people, I can actually feel enriched as an individual. ‘I feel that many of the actors today are blessed and lucky because there is so much time, attention and preparation done before they come onto a film set. I didn’t have that when I started out. Parineeta led to Lage Raho Munna Bhai and then to other films. I simultaneously also started discovering things about myself which I had kind of pushed away in the background. I began doing things that I did as a child or during college, that made be feel good about myself. Interesting people walked into my life and I started getting more involved in social- work. I went back to painting and learning a new craft every year. I chase dreams that fulfill me and not a dream that somebody else describes to me. I have to admit I have never been happier.There is so much love and excitement and I feel so proud of what we are doing at Born Free Entertainment, my production Company.

Screen: From the time you joined movies to being a producer of Born Free Entertainment that released Bobby Jasoos this year, do you feel more empowered?

DM: Absolutely. It is extremely empowering when you are making fundamental and critical decisions on different levels of production, till the final showcase on the screen.

As a producer, did you ever feel your beauty was a hurdle, as people generally do not take a pretty face seriously?

Dia: Well, our company has made two films. But I remember when we were making our first film Love Breakup Zindagi, there was always a level of suspicion amongst people like; ‘Does she know what she is talking about? Do I really have to take her seriously?’
Over the years, I have developed strong connections with the technical talent in the industry. I think I was one of those actors who always depended not just on the cameraman but also the technical crew. I have spent a lot of time in the edit room and got to know the editors. I know every lightman’s name. So, when it comes to working with them again, they know you as the person you are. I would say I have definitely benefitted from a lot of warmth from people. I am receptive and there is no hierarchy within our system of work. Just because I am a producer, I will not say that ‘it’s my way or the highway’. I have learnt a lot with these two films, but I also think that people who have worked with us, have learnt that we mean business.

Screen: You are also one of the few actresses that director Raju (Rajkumar Hirani) has spoken very highly of. He shares his scripts with you and asks for an opinion. What got you interested in the scripting process?

DM: It really depends on the film-maker you are working with. I felt like a part of the scripting team when I worked with Raju Hirani. He believes in involving his actors as he feels that actors can add certain elements to their characters, things that the writer may not have thought of. When you cast individual voices, they find more resonance because those independent voices are thinking just about their own voice. It is an art to rise above yourself and think in context to a film and the totality of it. Boman (Irani), Arshad (Warsi) and I wanted to be involved as we were interested.
For one particular scene in Munnabhai…, when Gayatri, my character sees people giving her father flowers with a ‘Get well soon’ message, I wondered if she wouldn’t want to know what he has done and why people are treating him like that? For a daughter, her father is always perfect. That scene was not there in the film, but when I suggested it, Raju saw my point and wrote it.
For another scene, when I am about to commit suicide near the railway tracks and I speak with Munna (Sanjay Dutt) over the phone, I tell him, ‘I am so let down by my father who is my hero’. This line was later incorporated at my suggestion, because in real life, my father is my hero. This is what I mean by bringing personal context into a scene. That line was so true and honest that even today people get emotional whenever they watch the film. I choked on it when I was delivering them. So it was Raju and his respect for our intelligence that opened many doors for me. I started taking interest in writing, and understanding how scenes and dialogues are written. He involved me during 3 Idiots, and it was sweet of him to acknowledge me in the credits. Very few film-makers are willing to give their actors that opportunity.
Raju has laughingly commented, ‘You are one of those rare breed of actresses who is interested in the film more than her character’. It was the exposure to people like Abhijat Joshi and Raju Hirani and then of course my partner, my fiance Sahil (Sangha, a writer who pens his own scripts) that really helped me understand and become more interested in the craft. We actually developed Bobby Jasoos from a one line thought into a full screenplay. Likewise, we have developed four scripts and I take great joy in being a part of that process. It is magical to see words that you have written dance on sheets of paper become a tangible reality. That entire process is a magical journey and I love it.

Screen: I remember Karan Johar saying that the kind of beauty actresses like Deepika Padukone, Aishwarya Rai Bachchan and Katrina Kaif have is a must in order to be a heroine. Today, you see a stream of young girls who are not your typical heroine material, grooming and turning themselves into the characters that they are to play. Do you think there is a greater openness to accepting this kind of talent?

DM: Absolutely. At one time, most cinema was escapist; it was supposed to be aspirational and there was a certain prototype of women that kind of found themselves linked to the marquee and these films. They had to perform a certain duty and were dedicated to doing just that. You had thinking actresses like Smitaji (Patil), Shabanaji (Azmi), who did certain kind of cinema. Shabanaji, I think, was the only one who broke that concept because she did commercial cinema too. Today, we are not only doing women-centric stories, but are setting these stories in the heart of India. I went to my roots, to celebrate Hyderabad in Bobby… The choices that film-makers make are because the audience are enjoying this kind of cinema. This is the reason why we are beginning to cast and make stars out of girls who look a refined version of the girl-next-door. For instance, Huma Qureshi is a powerhouse of talent, but when I see some of her pictures today, I feel, she doesn’t need to do what she is doing. But there is a team behind her that tells her that if you want to get into block A,B or C, then these are the things that you need to do.

Screen: The recent controversy that involved Deepika Padukone and a leading publication, raises the question about objectification of women and how much is the woman herself responsible for it. What is your take on that?

DM: When you talk about principles or ethics, I think it’s always a woman’s right and people are expected to respect it. Actors are commodities; selling something all the time, be it a product, a film or whatever it takes. Yes, sometimes you might have thought provoking roles to play in certain films. I am a big believer that the perception people have of you is the sum total of the choices that you have made and those choices reflect in your work, how you speak, what you wear personally or on the covers of magazines. I have had complete strangers, of different age groups walk upto me saying, “I really admire you and respect you’. Nothing means more to me than that.
This might sound as a very sensational comment to make, but it’s a fact. Somebody actually said this to me, that, ‘If you cannot become a part of a man’s wet dream, you will never become a superstar in this country’, and I think this is something that is ingrained in the minds of many leading actresses, which may not be a reflection of them as persons. It’s just the way their careers are designed for them.
When Deepika raised her voice, she had every right to do so. Let me explain; at 16, I was willing to endorse a fairness cream, but today at 32, I refuse to even sign a brand that conducts tests on animals. It means I have evolved and that as individuals we will continue to grow and in that growth, our choices will change and they will reflect in our actions. Does that mean that you can point a finger at me and say, ‘At 16, you did a fairness cream ad, so what’s your problem now?’ I would say, ‘I was a different person then, I didn’t think the way I think today.’
Have we ever known actresses to have a sense of humour? Look at what Alia Bhatt did; she poked fun at herself. As a society, we are becoming more aware that actors and film personalities are real, breathing, thinking, feeling individuals and that their stardom is not their boon. It is what you make of them and not what defines them entirely.

Screen: Then, there is this debate about lead actresses doing item numbers. There is one opinion that says leading actresses doing item songs has given it a certain kind of legitimacy which perhaps was not there when the vamp did seductive dance numbers. Also earlier, the classification was very clear, that a vamp did item numbers. Do you agree?

DM: The hero was always white, he was never grey, he was never dark. Today, protagonists are grey, they are dark, they kill, love, dance and perform heroic feats. We are evolving and with that, we see a change in everything. If I had a choice about item numbers then I would choose not to have one in my film, but I will not judge those who do it simply because they know why they are doing it. And there are many who throw in an item number and say ‘this will give me my opening day business’. When it doesn’t, they understand that an item song doesn’t always garner money.
A major contributor to the first day business of films is the male audience. Like it or not, it is the male audience that seeks titillation; they go in there because they have seen that item song and when a leading lady does it, then it makes it that much more fun.
During a discussion, an elderly person complained to me. ‘ As a grandfather, I am embarrassed when my grandchild does Sheila ki jawaani. When she sees her favourite actress Katrina Kaif in the song, she wants to do it too.’ I told him not to let her watch the channel that plays such songs. It’s a choice that one has to make; turn off the TV or change the channel. But if you are okay with your child watching that information, then that’s your choice. Today, it is different and thank God, things have changed. At least, the younger generation is holding the torch on that and have made some very bold choices.

Screen: Also the scale of film promotions have changed, and being linked with co-stars before a release has been a great promotional tool since time immemorial. What do you have to say to that?

DM: There were certain kind of producers who had the mindset that reflected in the way women were treated on the set or in the media and also the way women were shown on celluloid. It was in the late ’80s and ’90s that the industry went through down slide in the concept of cinema, the way it was made and the way women were treated.
I remember saying in one of my early interviews that ‘I feel like a prostitute’ because every film’s release would link me with the actor or the director. I wondered ‘What am I? Why are you projecting me as being some girl who is only getting work because she has access to somebody’s bed or is interested in bedding a person’? It was just so demeaning and frightening. I would see my nieces and nephews reading certain publications that would run these articles and wonder about the person who wrote it or the producer who must have said, ‘Kar do, mere film ko push mil jayega’. Ye soch ke bhi kitna ganda lagta hain.
Today’s newspaper is tomorrow’s toilet paper. India uses it to clean its crap. But the fact is, my little nieces and nephews have read that piece of crap which does not have any truth in it. I would always wonder why producers had to resort to such things to gain or attract attention. But, with the advent of social media, the actors have a platform where they can express themselves. I think it has acted as a cleansing process where people have the right to choose what they want to read. I don’t need to see it in my face everyday, because I have world news at the tip of my fingers. But 10 years ago, you had to just grin and bear it. We actors were told to ignore it so we did, even though we felt humiliated.
But, since the advent of the multiplex, there has been a paradigm shift; people have started moving towards a more structured work environment.

Screen: You are soon settling down in matrimony. Would you continue acting or just be a producer? Also what are your upcoming projects?

DM: I am very excited about getting married. As a little girl, I would attend every wedding with my parents or my grandmother. I have practically played a bride in every film I have done. This is an aspect of my life that has been long awaited. As for my profession is concerned, I think it will only empower my choices. There is so much about what I want to do in the next 10 years. I am not acting in any film right now as I am focused at enjoying another aspect of my life. I want to give it my best shot, but that does not mean I will never act again. Once an actor always an actor. If there is a role that entices me, I will do it.

Screen: Do you take up a subject thinking about its repercussions on society?

DM: That was the reason to start Born Free Entertainment. We want to make entertaining as well as message-oriented films.

Hard nut to crack

Dia Mirza has set her sights on the larger picture, preferring to concentrate her energies on films rather than television, which she feels is a, “Big, bad corrupt world, and the hardest business to crack.”

Not so easy

Becoming a producer is no cake walk as Dia realised with her first film. Not a moment to spare, she had to ensure that everything was moving smoothly, keeping an eye on the
finances. “It’s an excruciating process,” she sighs.

VOX POP

Dia Mirza answers questions from the audience 

In recent times, there were some women-centric films that were made by male film-makers. Are the makers really sensitive to women’s issues or do they make these films simply because they become successful at the box-office? Also, as a producer, if you get two projects; one, a typical Bollywood masala film which has chances of becoming a hit and the other, a women-centric film, which one would you choose?

DM: It’s a very good question. Firstly, women-centric films are not made by a man alone. There are many women working on the project as well in different departments. These films are not made solely because they perform well at the box-office, but because people are writing such stories, and there are investors who are willing to back such ventures. Even the young generation of actors and film-makers are ready to experiment.
Having said that, there are some film-makers who do not like to move away from their comfort zone. Sajid Khan may not be able to make a Kahaani, but for Sujoy Ghosh, it was easy to make such a film which he may have never thought would be such a big success or that it would be an inspiration for other film-makers.
To your question on if I had to choose between a masala film or a women-oriented one, I would go for the one that would touch my heart.

How is the actress perceived today, by her character or her looks?

DM: Madhuri Dixit Nene is a phenomenal actress and a beauty queen. So is Sridevi. What I am talking about is the way they were perceived is what has changed. You had Meenakshi Seshadri doing a Damini in the ’80s, but nobody looked at Madhuri and said, ‘What an intelligent and articulate girl’, because that aspect was not dwelt upon. The only thing harped upon was that she is a great dancer and has a great smile.

What are the factors that you consider while casting an actor in your project?

DM: I think the decision of casting is a combination of whether the person suits the character that has been written for her and whether the person’s presence will justify the cost of the project.
When your audience sees the promo of a film, they will decide whether they want to watch it at home, on the mobile phone or wait for the television premiere. We are trying really hard to find ways to make every story become a theatrical experience.

What are the skills required to get into production?

DM: Some producers are actually financiers while some are instrumental in directing the course of the film and are involved in the entire creative process. There has to be a strong, able partner who can market and distribute the film. There are many producers
who do it themselves, but it is better to find strong partners or studios.
When I chose to be a producer, I had worked for over 12-14 years as an actor. You have
to be a part of the process long enough to get the confidence. Many who have made big films in our industry weren’t qualified to be producers, they learnt on the job.

When will we get to see you as a director?

DM: I honestly want to take on that mantle, but I need to make two more films. When I have a story to tell, I shall take up direction. It’s a very big responsibility and after producing two films, I have become a little more confident.

Transcribed by Karan Shah

Edited by Geety Sahgal, Namita Nivas and Farida Khanzada

All photos by Prakash Yeram and Pradip Das