I'm the shadow of 'Jaane Tu...': Aamir Khan

There was a time when Aamir Khan was termed as a recluse of the Indian Film Industry. Today, television audiences are used to seeing Aamir resplendently suited booted, gliding over a red carpet at glittering Bollywood soirees.

Audiences, critics, and the jury of many prestigious award functions alike are awed by Aamir Khan's conviction, dedication, and emotional power as an actor, producer, and a director.

And with his third production, 'Jaane Tu…Ya Jaane Na', which released yesterday world wide, the mutli-talented Khan yet again sets out to prove that he is the master of all in this very short but an exclusive chat with us just hours before the star studded premiere of his film in Mumbai.


Q. Looks like your Taare's are shining bright ever since you touched 'Lagaan'. I wish you could pass on some of that touch to us. What do your astrologers say?

(Laughs) I don't know. We've tried to make a good film. I think that I'm quite happy with the way it's turned out and waiting to see how the audience reacts to it.


Q. This is your first production with you not a part of the cast. Did 'Ghajini' take a lot of your time or 'Taare Zameen Par'?

'TZP'. I was directing 'Taare Zameen Par' when 'Jaane Tu' was being shot. So when I took over as the director of 'Taare', I realized that I'd not be able to fully shoulder my responsibilities as a producer on 'Jaane Tu…' nor did I think of acting in it because it was entirely up to the casting director and the director whom they think is the right choice. So I requested Mansoor to take care of the production and he was there looking after the cast and the crew during the shoot stages. Of course, I was there if there were any problems. But as soon as 'Taare' finished, I was there to look after the post production and the marketing plan for 'Jaane Tu'.


Q. You seem to be like Imran's shadow. Everywhere Imran goes, you follow. Then what was the reason for your absence in London?

(Laughs). I would not like to be described as Imran's shadow. Being the producer of the film, I have been a part of promoting 'Jaane Tu…' and that's what I am doing. So if I accompany Imran, Abbas, or Genelia, I can't be tagged as their shadow. Infact, I'm the shadow of 'Jaane Tu'. But yes, If I was free, I'd have definitely come to London but unfortunately, I was shooting for 'Ghajini' at that time.


Q. Not convinced with Amol Gupte's direction, you took over as a director for 'Taare'. That was past. But we also know that you gave 5 scenes to Abbas to shoot for 'Jaane Tu…' before you could say Yes to him. Have you now started screen testing directors?

Infact, after my experience on 'Taare', I told Abbas to shoot five scenes to see how he fares as a director. 'Jaane Tu' at that time had not begun their filming. So I requested Abbas because he had never directed a film before. I am pretty sure that I would like to see any new director taking up my project to shoot four or five scenes, whether it's Abbas or anybody else. But if there was an established director, I would not have done that.


Q. What if you did not like all the five scenes or liked two or three of them? Was the back up ready? Or were you prepared to jump into the directors seat?

If any of the five scenes were not directed well by Abbas, I would not have gone ahead with the project even though I loved the script. And that is true. But Abbas proved me wrong.


Q. I remember you and Raj Zutshi used to stick the posters of 'Qayamat Se Qayamat Tak' on the auto-rickshaws outside Mithibai College in Mumbai by stopping them. That was marketing in 1988. How much do you think marketing has evolved or will do in the near future?

I think it has changed dramatically from then to now. In 1988, there was only one channel, Doordarshan, and the main line newspapers and magazines did not do much reporting on entertainment nor was there any news on the front pages about films. The media had not completely evolved then. But entertainment in particular has now become a huge part of reporting and news. So while the times have changed, the level of challenges remain the same.

In the late 1980's we didn't have enough means to promote the film so we tried to do it the best we could. Today you have a lot of means but you could do it completely wrong. So even if you have the tools in today's time but you don't use them well, it can go against you. You can market the film really badly or people can sense from your marketing that they don't want to see your film.