Being straightforward helps in Bollywood: Milan Luthria

Filmmaker Milan Luthria says that he has been able to maintain good relationships with most people in Bollywood because he is "straightforward", and does not believe in backbiting.

His journey in Bollywood has been no less than a roller-coaster ride. And although film-maker Milan Luthria is on a career high at the moment, the 48-year-old admits that when he entered the film industry with Kachche Dhaage (1999), he did go through “a tough time”. Here, he talks about being content with his professional pursuits, and admits that he is in a “good space” right now.

You started out working as an assistant director with Mahesh Bhatt. Were you always interested in directing movies?
I knew that I didn’t want a desk job. I was always fond of music, which reflects in my films. I had joined him (Bhatt) like someone does a summer job. I wanted to see whether I would be good at it or not. In six months, from being a clapper boy, I became his associate director. He gave me a lot of confidence and placed a lot of faith in me. Ajay (Devgn) became a close friend of mine during that phase. He said, “I will act in your first film whenever you make it.” That gave me a boost, as getting a star for your first film is always tough. He was very supportive.

How do you manage to maintain a good working equation with industry folk?
I don’t play games (smiles). I am very straightforward in my dealings when I work with people. I don’t backbite. Whatever I have to say, I say it on the person’s face. It always helps. Also, you work with a lot of talented, but temperamental people, who are busy and successful. So, you have to give them a little space. You can’t have everything your way. The idea is to keep things simple.

Director Milan Luthria has made films like Kacche Dhaage and The Dirty Picture.

After two decades in the industry, would you say you have achieved your goal?
You know, someone asked David Lean at 86, “Why are you making another film?’ And he said, “I am just about getting the hang of it.” It’s a medium that teaches you something new every day. It’s a very tough medium, so the quest continues. To some extent, The Dirty Picture (2011; TDP) and Once Upon A Time In Mumbaai (2010; OUATIM) gave me a lot of satisfaction. But they are still small blemishes. I wish to do better next time. What makes me happy is that I have developed my own style.

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Did you develop this style over time, or were you always aware of it?

In our business, you either make extremely commercial films, or very artistic ones that don’t bring in any collections. I have always tried to walk the middle path. Whether it’s a gangster film or a story about a sex symbol, the audience should be commercially as well as creatively satisfied, like what films such as Hum Hain Raahi Pyaar Ke (1993) or Sadak (1991) have achieved.



What’s your film-making process like?

I react to the script very well. So, I am quick to point out flaws in it. But at first, I let the writer take his path, and I move away from the material. I let the idea cook in my mind. When the script is ready, my subconscious mind connects with it sharply and instinctively. So, it’s a technique that doesn’t allow you to get possessive about it; instead it keeps you objective. But when I am shooting the film, I push everyone away. It becomes a consummate affair, yet quite a lonely process.