EXCLUSIVE! Aamir Khan: I am loyal to cinema first, and then to theatres

Time of India

a day ago

Aamir Khan
Aamir Khan
Aamir Khan
Aamir Khan
Aamir Khan
1
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Breaking the mould is second nature to him. Now, in a bold move that challenges the norms of a largely risk-averse industry,
Aamir Khan
has chosen the pay-per-view model on his YouTube channel for his latest film,
Sitaare Zameen Par (SZP)
, which had released in theatres in June.
This aligns with his decades-long pattern of being a disruptor – as an actor and filmmaker. In this freewheeling conversation with us, the superstar talks about access, affordability and the future of cinema beyond theatres.
Aamir also confesses that he's not fearless, unlike what most would assume, and tells us why, at 60, comfort is not an option — '
ab
comfort
hai hi nahi, toh kuch karna padega
.' Read on...
A still from Sitaare Zameen Par
How do you think the pay-per-view model gives more power and choice to both the audience and the producer?
You are aware that we are able to reach only 2-3% of our population in the theatrical business, and this is for the biggest hit. For a film like
Sitaare Zameen Par
, around one crore people would have watched it by the end of its theatrical run.
In the absence of enough theatres being built, this model is perhaps the only way to reach the vast majority of India, especially with rising internet penetration. In one stroke, this solves that problem for everyone. It's great for filmmakers because it strengthens them and empowers them to make better films.
To be able to watch a movie, access and affordability are key. Was this model born out of that philosophy – to make both these points a reality?
Today, cinemas in India, and here I am talking about the multiplexes, are trying to give a unique experience, but that costs money. So, over the years, theatres have evolved from the time when I started out with
Qayamat Se Qayamat Tak (QSQT)
.
Back then, the average ticket price was Rs 10. Today, the ticket prices are not affordable for a large section of society. And multiplexes, because of the high cost and heavy investment (in terms of rent, etc), have also started catering to an audience who can afford to come there. So, who will cater to the masses? This model caters straight to the masses.
Continues…
In every press conference prior to my film's release in the past 10 years, I would be asked, '
Aap
film
bana rahe ho, jo
masses
hai woh kaise dekhenge
?' The answer to this and the pricing of tickets is not in my hands. I can't tell theatre owners who have invested a lot of money to go into a loss. If this model works, it will dramatically change the way we distribute films. From an economical point of view, I had strong OTT offers for
SZP
, if I were to accept that, it would have been a safe bet.
I chose not to. I would rather earn Rs 100 from each Indian who watches my movie. Also, this is a great opportunity for younger filmmakers who are trying to break in and don't get a chance to showcase their work. It will give creative voices more freedom. It will give them the freedom to price their content the way they want to.
You are a theatre loyalist and have spoken about 'protecting our theatres'. What are some ways exhibitors and filmmakers can work together to reimagine cinema-going as a more inclusive, feasible experience?
Let me clarify, my loyalty is to cinema. Cinemas came first, then theatres came to serve cinema. Earlier, there was no theatre. Cinema
dikhane
ke liye pardah laga dete the
, and it would be shown through a projector.
Phir tent aaya, wahan dikhate the.
Then permanent theatres came about. Cinema is what I am protecting, and emotionally, I am very tied to theatres. I believe that the theatrical experience cannot be replaced by anything else. When you are sitting in that dark space with 300 people around you, it's a group experience where you laugh and cheer together. Imagine watching
Lagaan
, where the whole theatre is cheering...
abhi woh
experience
aapko ghar pe baithke apne
family
ke saath bhi nahin milega
.
I am loyal to cinema first, and then to theatres, clearly in that order. To answer your question, I think first of all, we need more theatres. In districts where there is no single screen, not even a single theatre, we should at least have one theatre. India needs many more theatres, but they should be economical theatres.
Do you believe that, at some point, the theatrical business will start thriving again?
Yes, of course. I really hope so.
Do you think that, as makers, focusing on tier-2 and tier-3 cities is key, as therein lies the scope for theatrical recovery in India?
Absolutely! I believe that we need theatres in tier-2 and tier-3 cities. The tier-2 cities have theatres, but as we go deeper, we don't. I also feel that it's not that people want to watch only action films in theatres – that was the feeling for some time. If that were the case,
SZP
wouldn't have done well, and
Saiyaara
wouldn't have been such a success. These are phases that keep coming and going. When I did
Ghajini
, everyone told me that you are doing an action film at a time when this genre was not working.
It worked. I think audiences are interested in watching films irrespective of the genre.
So, the genre of your film and how it fits with current trends and mood doesn't concern you?
No, it doesn't. Stories that inspire me and affect me the most are what I gravitate towards.
Stills from Ghajini and Dhoom 3
You've consistently been a disruptor — as an actor and a filmmaker. In an industry that often plays it safe, where does this creative fearlessness come from?
No, no, there is a lot of fear. There is fear every time I am doing a film, and unfortunately, my choices are also unusual, but I can't help but make them. When I was doing
Dangal
, I felt that
dus saal baad karte hain, abhi mein itna mota, buddha dikh raha hoon
. Just before that, I had done
PK
and
Dhoom 3
. People thought I am 30-35, they didn't know I am 55. I thought
yeh
film
karoonga toh meri asliyat saamne aa jayegi
(laughs). It was in my blood; I had to do it. I am not a fearless person. Before the release, you can't assume the film will work, at least my films. There were exceptions like
Ghajini
and
Dhoom 3
, where you could say
yeh kuch toh karegi
. But with the unusual ones, it's difficult to tell. I go with my instinct and my heart. So, I am not thinking about what the audience wants to see. I am thinking
mujhe kya banana hai.
There's still this restless energy about you. Does that fuel your creativity?
I suppose so. If the status quo is comfortable, I have no problem with it. But when it's not, then I want to do something to correct it. I am comfortable about being comfortable, but
ab
comfort
hai hi nahi, toh kuch karna padega, haath pair marna padega
, because in today's times it is difficult for creative people to make what they want to make. Unless you have a subscription model pre-sale, you can't greenlight a project. That's not a comfortable situation to be in for creative people.
A still from Talaash
Knowing the kind of connection and influence you have with audiences across generations, do you feel a certain sense of responsibility when you take on a film?
I do feel a sense of responsibility, so I don't do films that propagate any thoughts, views or ethos which are not mine. At the same time, I also believe in having my freedom as an artiste, as that's how I always operated from the beginning. I have selected films that I wanted to do. Some of them worked, some didn't. Fortunately, most of them did. I have tried not to take the unnecessary load,
ki meri har
film 300, 500
ya
600 crore
banayegi
.
I am not chasing that.
Mujhe Talaash ki
script
pasand aayi aur mujhe pata tha yeh
500 crore
ki
film
nahin hai, yeh
200 crore
ki bhi nahin hai.
In fact, I remember telling the team that I believe the film will do about 70 crores. It went on to do 95 crores. I did the film as I loved the story. Just because I knew it wouldn't break my
Ghajini
record, didn't mean I wouldn't do it. I can't think like that. This comes from my excitement as an artiste, and also because I can't keep doing the same kind of films again and again; I don't know how to do that.
You said that you feel a sense of fear every time you embark on something new. Can you recall what you felt on the first day first show of
QSQT
?
I still remember that moment – I remember the premiere show of the film. My uncle (Nasir Hussain) had booked the balcony, and the stall was for the paid audience for the first day, 6pm show. And Shammi (Kapoor) uncle had come, in fact, he was the only star my uncle had called from the film industry. I remember walking into the film with no one recognising me, and when the film got over and I walked out, I was mobbed.