The many Aamir Khans that maketh the Man
- Supreme Court strikes down Section 66A, says it violates right to speech
- Pakistan Day: PM greets, MoS VK Singh tweets #disgust
- DK Ravi's death: Govt calls in CBI, tells court he had a ‘relationship’ with batchmate
- Mufti Mohammad Sayeed says will take Army into confidence on AFSPA
- 1987 Hashimpura massacre: The photographs that stand witness
Socially relevant cinema
I choose a movie if I fall in love with it. If I look at it from a logical or marketing point of view, then it's a very unwise thing to do because I am making a film on a learning disability with a child as the lead actor. But once I have decided that a film has to be made, no matter what, I try to make it economically viable. When people talk about the film, it sells tickets and becomes commercial.
Film industries across the world are star-driven because it's a business of such heavy investment. The reality is that the market moves towards safer options. The market would want me to do a Dilwale Dulhaniya Le Jayenge but every time I do a Taare Zameen Par or Lagaan, the market looks at me with suspicion. I am a star, but even I've had to fight the suspicion about almost every film I've done.
Effort to change the system
During the fight between producers, distributors and exhibitors, I didn't agree with their system that the first week would fetch the makers 52 per cent, and then 45 per cent and 30 per cent in the subsequent weeks. If a small film releases, the word that it is good goes out only by the second week, by when the profit percentage is lower. Qayamat Se Qayamat Tak started to make money in its fourth week and we were making only 25 per cent. This system is against the grain of nurturing new talent. Instead of five big stars, we should have 20. We have to encourage young talent. There are two changes in the industry I would want to see. The profit-sharing system on a week-to-week basis should be done away with. Secondly, we need to value writers and pay them more.