Pink...has condemned the ‘judgemental’ biases that colour society’s perception of women. What are the finest reactions you’ve received for the film?
The reactions have been most overwhelming and far too many to enumerate here. But suffice to say they range from a feeling of great emotion to one of ‘about time’ someone brought the issue out from its claustrophobic bindings into the open. The range of the reactions have come from the common man, the lawyers, from the politicians, the media heads, the activists and more. Most of them have one common word to say ‘speechless’ and ‘stunned’.
Apart from the critical applause, what is the emotional gratification of playing lawyer Deepak Sehgal?
When you consider a subject and a character as that of Deepak Sehgal, I do not think one looks for any gratification, personally, that is. There’s nothing that I have spoken as dialogue in the film that I would not have spoken even if I was not in the film. The belief in the content and in the issue was what my consent was in accepting this project. That was the most important factor.
What was the brief given to you by director Aniruddha Roy Chowdhury about the nuances essential to convey the character’s manic depressive disorder?
The manic depressive disorder or the bipolar condition was a backstory for the character. We did shoot a lot more of the condition. But it was felt that we did not want it to distract from the main issue. Hence, it was greatly reduced. The direction given to me was to be as normal and plain as possible and no dramatics. Generally, court room sequences in films tend to be obsessed with that temperament. But the director wanted it to be as realistic and straight without exercising any kind of histrionics!
Your co-actors were a band of young girls (Taapsee Pannu, Kirti Kulhari, Andrea Taring). What was the energy like on the set?
I’ve been unable to understand this often asked question, ‘What was the energy like on set?’ And I do not know what it means. When we work on a project as professionals we’re supposed to do our job to the best of our ability and subject ourselves to the needs and decisions of the director. And we hope that that temperament is complied with. Energy? I’m unable to fathom what that means in a professional set-up. There’s no mechanical machine that keeps measuring units while we work. It’s a given that the right amount of ethics and professionalism is exhibited. That is it.
You’ve shared that you were emotionally disturbed while shooting a few scenes and that you didn’t want to break down in front of the girls...
Yes, there were moments when we broke down emotionally while performing some scenes. Some of us had the courage to not be conscious of it publicly on the set. Some like me wished to move away.
Liberalism is often confronted by a feudal mindset and gender cruelty in India. Do women have it particularly tough here?
Not just here. It was brought to our notice through some viewers later that it exists in many other countries as well. A Swedish lady met Shoojit (Sircar, producer) after a showing and expressed a desire to take the film to her country because she said the conditions shown in the film were more prevalent there. It’s tough here but also in other parts of the so-called ‘developed world’.
Prudence, they say, is the better part of valour. What would be the safety net for girls in an unequal society?
“NO means NO!” And when a woman says so, the boys need to stop.
Having witnessed changing eras, what disturbs you the most about today’s times?
With regard to this issue? Earlier on, I was too young or not mature enough to understand the problems. Many were unknown to me; its consequences and its severity. But as time went by and we came to learn of incidents and media deliberations on it, a consciousness grew and formed certain thoughts and impressions. I do believe that many concerted efforts are being made not just through the law and the administration but through many endeavours by private and socially conscious bodies. This is, and I hope too, changing the thinking of certain archaic beliefs and practices. There are still many gaps and areas, which need immediate attention. I sincerely hope that through efforts being made, there shall be a change.
What leaves you enraged?
Disrespect, indiscipline...
What is that stellar lesson you imbibed from your mother, the late Teji Bachchanji, which has influenced the way you regard women today?
I was fortunate to have had a balanced mix of both worlds – the East and the West. My mother grew up in a more Western environ, in an affluent home, English nannies and all. My father was from the lower-middle class. But both had progressive thoughts, ideas and beliefs. My mother was always encouraging towards freedom of thought and deed, the pursuit of which I made choice of. And also to never to give up a fight until it is won.
Apart from Tejiji, who else have you admired and why?
One admires many individuals in their singular capacities. And there have been many in different walks of life. But my mother was the overall influence. I would go to her on all matters, good or bad.
What makes Jayaji (Bachchan) such a strong personality as well?
I believe the environ she grew up in and the kind of upbringing she had, instilled in her the strength that she exudes. She was the head in her NCC outfit. That could have given her the strength of command. But right from her home environs I believe, she was always considered that. She’s the eldest among three sisters. And they do not call her ‘didi’. They call her ‘Didibhai’! Guess, that says it all.
You’ve often said that being on the set is a privilege. What makes your film with Aamir Khan, Thug, a special outing?
Why only the one with YRF and Aamir? All projects are a privilege.
An actor’s romance with the camera is a timeless one... Do you agree?
But of course. What gets captured is captured for eternity and therefore becomes timeless.
Would you like to react to ex-Justice Markandey Katju’s ‘nothing in his head’ comment about you?
He’s right. I really do not have anything in my head.
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