IANS Exclusive Interview: Yami Gautam and Suparn Verma discuss their film 'HAQ' | Storyline

3 months ago

Mumbai: During an exclusive interview with director Suparn S. Verma and actress Yami Gautam, where they discussed their film 'Haq'. Then, they shared insights into the film's inspiration, creative process, and themes. After that, Yami Gautam emphasized the importance of fearlessness and conviction in storytelling, while the director highlighted the film's exploration of power dynamics and politics. In the end, they reflected on the idea that artists are mediums for a higher creative force.

Transcript

00:00So hello Sukhoj and hello M&M. Welcome to ILS and first of all, massive congratulations for a hug that's about to release.

00:06Thank you so much.

00:07I want to start off by asking that it's one subject as a film for a film that has shaped a large part of what our country is today.

00:16It was a landmark judgment that came out.

00:18While you were sketching the film or you were deciding leaving the nuances of it and it came to you,

00:25what was about it that most intrigued the artists in the event, appealed to the artists in the event.

00:30Anyone can take the answer.

00:32Sir.

00:33I think first of all, it's a compliment to you.

00:38It's very refreshing when someone comes with their homework done right and they are also well versed in a certain topic.

00:44So thank you so much.

00:46Secondly, yes, just like anybody else from the country who's read newspaper and aap ki information bhaled newspapers takhu,

00:56but you are familiar with how pivotal that landmark case.

01:00Why is it called a landmark case?

01:02It's a really big term and which influenced so many other political events in the country post that for whatever reason.

01:11When Suparan and Reshu, they approached me, they came to me with this script that we're making a story on the subject,

01:21which is inspired.

01:22It's not a biopic.

01:23Let's make it very clear to you.

01:25There's so many thoughts that were running in my mind that first of all,

01:31if you ask me, I think it's an international subject because when we're talking about the legal system of an important country like ours,

01:45and I believe that ours definitely is one of the most important countries across the globe.

01:50It's anything that happens here becomes a very important and a very talked about event across the world.

01:59So it's very international.

02:01It's something which will have eyes across the globe.

02:04And I'm not saying in terms of attention.

02:06I'm saying in terms of the impact and the strength that a subject holds.

02:12So after feeling really happy and excited, then the next moment was that how do we achieve this?

02:22I was about to ask that.

02:24How do we do this?

02:25Now we are happy, but we have a massive responsibility and opportunity.

02:32And how do you encapsulate all of that in a film, in a commercial film?

02:36See a docudrama, a documentary is very different, right?

02:40Of course.

02:41Now how do you make it, how do you tell a story, of course, which is a mix of somewhere fiction, somewhere real,

02:48you know, an amalgamation of both and make it heartfelt, make it personal,

02:54although we're talking about a certain religion and yet make it universal for everyone and hold everyone together.

03:02So now that is the challenge.

03:06And now the first solution, I just look to my left.

03:09You come here and tell what you want to plan.

03:14So then I'll put it over to Supar now.

03:18So for me, personally, here's the thing, right?

03:20A lot of times I get asked that were you scared to take the subject up.

03:24And my thing is I don't approach creating anything from a space of fear.

03:30It has to be a space of passion, of love, of time to do it.

03:35And curiosity.

03:36Curiosity, absolutely, right?

03:37And then you deep dive into it, especially in subjects like this, which hold so much of importance in our everyday life.

03:44They are of national importance.

03:46And as Yami said, we are one of the biggest democracies in the world, one of the most important countries in the world.

03:51And what happens in India does impact everything around the world as well and vis-a-vis.

03:57And something as endemic as a woman's rights is very universal in nature.

04:05It's not like this is just unique to Indian women or women of a certain community.

04:11Women across the world suffer the same prejudice, face the same struggles, the same biases.

04:18And women are fighting them every single day in every role that they are in, professionally or personally.

04:24And for me, Bhak is a celebration of a woman.

04:29It is a deeply feminist film.

04:32Yes, it has a lot of male members, but that I think is immaterial.

04:37You don't have to be visually impaired to make a film about, you know, visually impaired people either.

04:42I think you need to have empathy.

04:44That's something seemingly lacking in the world today.

04:46And I come from a space that I want to take on matters, heads on and topics of conversation,

04:55which need to be talked about today, which are of very important nature.

04:59Putting them under the carpet is not going to solve things.

05:03Let's tackle them, talk about them, converse about them in a healthy, nuanced, balanced fashion.

05:10And I think we'll end up being much richer as a nation, as an audience.

05:15And Bhak, I think, is a step in that direction, just like Bandha was.

05:19And adding to that, you know, when you make a film or during the research phase,

05:25it's like opening an endless pit.

05:28You know, you may come across facts which, you know, take you down the rabbit hole also.

05:33It happens with me also when I write a feature.

05:35You know, I am tempted by, you know, to explore more.

05:38What are the tenets I could explore?

05:40What are the other themes that I could explore?

05:42As a creator yourself, when you are down that rabbit hole,

05:45how do you put a stop key now?

05:46I can't go in that direction.

05:49I have to make it what's right here with me.

05:52So I approach the story from the perspective of the characters, of Shazia Vanu, of Abbas Khan.

05:59And it is their story.

06:00It is their journey.

06:01Anything that is important in that journey of theirs,

06:04is there in the film.

06:06Anything that is not part of their journey, which is not taking my story forward,

06:11has to be culled out.

06:13It can't be part of it.

06:14See, my thing is this.

06:16Everything, including a love story, is political in nature.

06:20Everything, right?

06:21Because the minute power dynamic comes into anything,

06:24the minute I say I love you, there's a power dynamic.

06:26So it's as simple as that.

06:28Politics comes in.

06:30Not everything has to be brandished.

06:32Not everything has to be tweeted.

06:33Some things, your belief system, comes in through your work.

06:37Number one.

06:38Number two.

06:39Personally, I believe anything that takes a story forward,

06:43which engages the audience, entertains the audience,

06:46and it is true to the film, deserves a place to be in it.

06:49And what is not true to the film, has no place to be in the film.

06:53Because end-of-the-day film is for him.

06:56And taking from that, he said that, you know,

07:00even an expression of love can be political.

07:03When you're portraying such a character, you know,

07:06and everything around her is so political, given by the nature of,

07:10you know, what all was going around at that time.

07:12Of course, it is inspired, not, you know,

07:14a direct portrayal of what actually happened.

07:17What are the prerequisites that you have in your mind,

07:20that his character can be left, which later on translates to what I do on screen?

07:25It's a very important thing what Subhan said.

07:30And having been part of some, I can say they were good films,

07:38Uri, Article 370, Haq.

07:42If I tie all these films together,

07:45although they're absolutely different films from one another,

07:48is you have to be fearless.

07:53which doesn't mean careless.

07:56You have to be fearless.

07:57You have to have the courage to tell such stories.

08:02Otherwise, don't make the film, right?

08:05Having said that, it's, if the film is made with an intention

08:13that we have to create or preempt from our script perspective,

08:21any controversy, audience can see that as well.

08:25At the end of the day, we're making a film, as I said.

08:28So it has to be, it has to be presented as a film, right?

08:34And for me, the most important thing is to,

08:38once I've understood the emotional essence of the character,

08:43then you have to be uninhibited.

08:47Then there cannot be any doubts about will people think like that or no.

08:52My discussion on Suparan, with Suparan on set is about the character,

08:57is about the emotion.

08:58Shall we try this?

08:59Shall we try this note?

09:00Is this pitch correct?

09:02How can you make all of them different?

09:09Even though I might, when I cry, I might be looking similar.

09:13Yet on screen, you know, when you're watching,

09:16there's, we still have different levels of breaking down.

09:19Absolutely.

09:20So my questions are strictly creative.

09:22Then I don't overthink.

09:24All my, all that thinking is done before I commit to the film.

09:28And I take a very informed decision that,

09:30yes, this is something which we're making.

09:32And then if you're making, and if it's well within our rights,

09:35then you go all, then you go all out.

09:38In the sense that you can't be held back.

09:40You'll always have some block in your head,

09:45let me hold myself back.

09:48I won't realize it subconsciously.

09:51He'll be there.

09:52So agar aap, agar aap courage rakte hai,

09:54to tell the story of,

09:56which is inspired by a really courageous woman,

09:59a woman of substance, a woman of,

10:01jiskon feminism bolte hai,

10:03aur aaj kal uski bohat sarhi definitions hai,

10:05aur kuch se mein nahin agree karte hun definition se.

10:08She is, I feel, a true blue example of what feminism is,

10:12which is not fighting the other person.

10:16It's about standing up for yourself,

10:18for your children, for your,

10:20for what you think,

10:22not what you think,

10:23but what you know is right,

10:24is rightfully yours.

10:26That's, it's as basic as that.

10:28So then, yeah, so that's my approach.

10:32And taking from that,

10:33I have one more thing to ask that.

10:34You mentioned this word

10:35that you have to be absolutely uninhibited

10:37while you're performing.

10:39I recently saw one video of Mr. Shahrukh Khan.

10:42He said that to get it right is the most boring thing

10:45that an actor can do.

10:47He was talking about the method actors.

10:49What he meant was an actor should allow themselves to go wrong

10:53because that's where the fun lies.

10:55Do you identify with that school of thought?

10:57See, it's very subjective to each film.

11:03Right?

11:04What is the character?

11:06And how is your director looking at it?

11:08Right?

11:09There are films where you're portraying someone who probably

11:15is just walking around the corridor as natural as you can.

11:20Sometimes you, I'll give you an example.

11:23Like Bala.

11:24I played a TikToker.

11:26No chance I had, forget an account on TikTok,

11:29but I had no idea.

11:31And luckily before the ban, one day before the ban,

11:34someone, I actually asked help from a

11:38Gen Z, Gen Z,

11:40that please help me.

11:42Now that's a very different world.

11:44I will need to adapt myself to that world.

11:47My homework needs to be very specific.

11:49Agar mispronunciation hai kisi word ka,

11:53toh woh mispronoun, woh kitna surh correct hona chahi.

11:57So it has to be that nuanced and balanced,

11:59whether it's there in the script or not.

12:01It's one of the best scripts I've been a part of.

12:04Article 370, again, it's all,

12:07it's somewhere in that those subtle,

12:10Between the lines.

12:11Between the lines, right?

12:13Bano, when I say uninhibited, I mean,

12:16yeah, allow, to allow myself to be as,

12:20to perform as freely as I can.

12:24And yes, not hold back, not get conscious.

12:26Kahi bar, java bilkul nahi hote hai hai.

12:29Agar hum kuch,

12:30main abhi, my performance dhek hum,

12:31kahi bar, hold kar leete hai.

12:32Khi, pata nahi, main shahat kaisi dikhoongi.

12:34Main sa angle meh, thik lag rahi ho.

12:36Mera right, mera lef, mera ye cheeze hai.

12:38Rona, ma roo rahi hun toh,

12:40bohut, bohut lines meri haati hai.

12:43Zahato toh nahi ho gaya.

12:44So, sometimes we surround ourselves with certain things,

12:48which happens, which is a part of the process,

12:50so you have to let go of that.

12:52You have to surrender to the process,

12:53you have to surrender to the role.

12:55And if you believe, and you perform anything,

12:57I am saying, with conviction,

12:59and yes, which is why the director is there,

13:02to hold you back.

13:03Khi, you know, achaha, yeh surkh,

13:05aur kahi na kahi apko phir ho mil jahata hai.

13:07Khi, main hai ek ye karke dikha hai hai,

13:09wo bhi option hai,

13:10yek karakter ho ka ap dhas tarikayse perform kar sakte hai.

13:12Par haom dhas, kuchh galat sahih nahi hai.

13:15Par, director kaise dekhte hai.

13:17We are in his world.

13:18We are in illustration on screen of the director.

13:22So, that is fun.

13:24And then, of course, you will make mistakes.

13:26In the sense, which are not mistakes,

13:27it's fun.

13:28Try karke dekhte hai.

13:29I remember that a theater teacher came in school,

13:34a new and new theater introduced.

13:36And there was a line that I will not even forget.

13:39Keep still, you little devil,

13:41or I'll slit your throat.

13:42Now there are 35 of us students,

13:44and we were all talking about a new way.

13:47And then, we will go back to you.

13:50Now, we have all talked about a very good way.

13:52I have always talked about a weird way

13:54that all of us had come out.

13:56I was very serious.

13:58She was like, you sounded like a street ka jo pocket mouth.

14:06I said, I don't know what new to do.

14:08But at least, I said, you remember my life.

14:10I gave it a shot.

14:13Also, the mistakes like she mentioned,

14:15she flows, right?

14:17This shot, which is there I think in the trailer,

14:19I'm not sure.

14:20where Bano is in sessions go talking,

14:22and she's agitated,

14:24and she never stopped.

14:30It's not part of the screenplay.

14:32Or in a long monologue, there's a fumble.

14:36There's no cut.

14:37We don't correct.

14:38It seems natural.

14:39If I'm going to talk for nine minutes,

14:41it does not need to be pitched perfect.

14:44That word.

14:45The sound that came to me.

14:46Sir, there's a fumble.

14:47I said, good.

14:48Thank God.

14:49Makes her real.

14:50Now, these are things that happen.

14:51You don't stop.

14:52You go with the flow.

14:53You carry on.

14:54Because you imbibe it.

14:55It's real.

14:56So, these are things that happen.

14:58And she rolls with it.

14:59She never stops.

15:01I was aware of that.

15:02Of course.

15:03Because when you're performing,

15:04we discussed also.

15:05But I,

15:07aware in the sense that,

15:08I know this was not a mistake.

15:10This is,

15:11like he said,

15:12it's for nine minutes,

15:13if you're going to talk.

15:14Like even in the trailer,

15:15there's a shot where

15:16I'm repeating something,

15:17and I just take a pause.

15:18Because you're out of breath.

15:20So, if it feels natural,

15:22it is correct.

15:23If you believe in it.

15:24It's your belief.

15:25Okay.

15:26Perfect.

15:27And for my last question,

15:28you mentioned that,

15:29you know,

15:30an expression of love

15:31is also political.

15:32Do you also believe that

15:33all art is political,

15:34or every art

15:35serves a different purpose?

15:37I think every art

15:38serves a different purpose.

15:39And when I mean politics,

15:41politics is not related

15:42to just administration

15:43or the government per se.

15:45Politics of different nature,

15:46right?

15:47Politics comes in comedy.

15:48Charlie Chaplin films are political.

15:50You're talking about

15:51the social divide of rich and poor,

15:52for example.

15:53The Trump is the most political figure

15:54you'll ever see.

15:55So,

15:56you know,

15:57it's have and have-nots.

15:58Or,

15:59you'll always have a bully

16:01in a comedy,

16:02who,

16:03Lauren Hardy are taking over,

16:04for example.

16:05That's politics of power.

16:06Where there is power,

16:07there is politics,

16:08regardless.

16:09you know,

16:10even if it's a parental film,

16:12there is a politics,

16:13of,

16:14you know,

16:15adults,

16:16children,

16:17it's a different parity.

16:18So,

16:19I talk about politics

16:20in that fundamental,

16:21basic way.

16:22But,

16:23it is part of life,

16:24and it is unique.

16:26And,

16:27it doesn't need to be negative,

16:29always,

16:30but it is there.

16:31And,

16:32do you consider pre-historic

16:33cave paintings as

16:34political artwork?

16:35The ones made by-

16:36They were represented

16:37of their time.

16:38They were talking about

16:39men hunting for food.

16:40It shows men,

16:41as the providers,

16:42the women,

16:43as sustainers.

16:44That's automatic.

16:45I can put a vertical slant

16:46to everything,

16:47if you want,

16:48where power comes in,

16:49and have fun with it.

16:50But,

16:51fact is this,

16:52were they making art,

16:53or were they just trying

16:54to kind of,

16:55ensure that they,

16:56were remembered.

16:57Because,

16:58what is art technically?

16:59It is us,

17:00creating memories,

17:01so that we can be

17:02remembered by,

17:03and so that we can

17:04remember,

17:05a smell,

17:06is a memory.

17:07A song,

17:08is a memory.

17:09There are time machines,

17:10literally time machines,

17:11for us.

17:12And,

17:13that's all we try to do,

17:14as human beings,

17:15is try and,

17:16make that line in the sand,

17:17which keeps fast eroding,

17:18right?

17:19But,

17:20we try and make it regardless.

17:21That's the very,

17:22basic essence of human nature.

17:23To try and make,

17:24one mark.

17:25Vajpan mayab,

17:26you take a bench,

17:27and you write your name

17:28on that bench,

17:29and you come back to it.

17:30You take a tree,

17:31and write something on it.

17:32The cavemen would do the same thing.

17:33We are all trying to be remembered.

17:34We are not promoting

17:35writing on the tree,

17:36by the way.

17:37I have to always,

17:38keep a very,

17:39very thorough check,

17:40on what so far,

17:41and it's saying,

17:42we are not promoting writing on the desk,

17:43scribbling,

17:44please don't.

17:45I've come across some benches,

17:47where I'm like,

17:48I don't want this heart on my bench,

17:49please.

17:50Which is not for me.

17:52Already from now.

17:53Absolutely not.

17:55This is a very fascinating,

17:57fascinating subject,

17:58and I'm tempted to ask one more question.

17:59As you mentioned that,

18:00you know,

18:01we strive to make a mark,

18:03in order for a remembrance,

18:04as human beings.

18:05Do you think human beings are just,

18:07the instruments through which art flows,

18:09and art is something bigger,

18:11something given to us by the nature,

18:13or we are the keepers of art,

18:15in your opinion?

18:16My opinion,

18:17I think we are just,

18:19a medium.

18:20I don't know where ideas come from.

18:22Yes,

18:23inspiration comes from,

18:24what is inspiration?

18:25Yes,

18:26we are,

18:27we are reading stuff,

18:28we are absorbing stuff,

18:29we are channeling stuff,

18:30but I rather,

18:31I mean,

18:32we talk about genius,

18:33right?

18:34Who is sort of genius?

18:35Genius comes from a genie.

18:37For me,

18:38the genie lives in the world.

18:39I was talking to Vishal Mishra,

18:41our music composer,

18:42who has composed some really great songs.

18:44And he was talking about,

18:45when you give the songs together,

18:48singers can sing,

18:50and then comes a day,

18:51not a single note pops out,

18:53or not a single note comes out of your fingers,

18:55and you can't compose anymore.

18:57It could be the same of writers,

18:58you call it writer's block,

18:59right?

19:00Actors suddenly find themselves

19:02at the peak of their craft,

19:04and then suddenly they reach a place,

19:06where they are not going up or down,

19:08and some always continue.

19:10It is craft,

19:12it is discipline,

19:13it is the medium,

19:15but it's also a blessing.

19:17And I rather,

19:19take away my ego,

19:22of saying me and I,

19:24and give it to a higher power,

19:26I think it keeps me more grounded,

19:28but that's my personal thing.

19:30And that,

19:31close the doors.

19:32I think we are,

19:34we are all,

19:35creations of some higher power,

19:37I believe.

19:38And,

19:39some really special beings.

19:41If we come to realise our true strength,

19:44and our,

19:45and our true potential,

19:47which I don't know,

19:48if we have still done that.

19:49Yes.

19:50and,

19:53we are,

19:54each one of us,

19:55I believe,

19:56we are sent here,

19:57for some purpose,

19:59and,

20:00some art,

20:01in different forms.

20:03It's a very,

20:04it's very abstract,

20:05you know,

20:06it's very,

20:07some,

20:08I think,

20:09each one of us,

20:10has been,

20:11you know,

20:12bestowed,

20:13with that special power,

20:14with that special,

20:15art is,

20:16I don't think it's only painting.

20:17I think it's,

20:18it's literally,

20:19as he said,

20:20it's a blessing.

20:21And now,

20:22it's up to us,

20:23how we keep,

20:24how we,

20:25how much we respect that.

20:27Right.

20:28It's like,

20:29I'm a writer,

20:30I know what,

20:31what,

20:32what,

20:33what,

20:34what,

20:35what,

20:36what,

20:37what,

20:38a writer would know,

20:39what,

20:40the,

20:41how sacred is that pen,

20:42or your thoughts,

20:43or your,

20:44some,

20:45some,

20:46some,

20:47some,

20:48I think it's all about,

20:50that belief,

20:51what do you believe?

20:52What is your belief system?

20:53So,

20:54if you think that deeply,

20:55then,

20:56then yes,

20:57literally,

20:58then you can see God in,

20:59it's like seeing God in,

21:00anything.

21:01Sometimes,

21:02and nothing,

21:03it's just,

21:04you feel it right there.

21:05So, I think it's all,

21:06very,

21:07I think,

21:08which,

21:09what higher beings,

21:10who attain that kind of understanding and knowledge.

21:12So,

21:13I'm sounding like one,

21:14but I,

21:15I don't think I'm even half of,

21:17what I'm saying right now,

21:18but in the moment,

21:19it's very beautiful question.

21:21I,

21:22I feel that yes,

21:23we,

21:24creations of,

21:25God's,

21:26they're his illustration,

21:28and his,

21:29expression,

21:30which is special.

21:31Okay.

21:32Perfect.

21:33So,

21:34with that,

21:35we have reached at the end of this conversation.

21:37how can you talk as well?

21:38I,

21:39I,

21:40I,

21:41I,

21:42can say,

21:43please hug,

21:44you must watch the 7th November.

21:46I,

21:47I don't want to say it,

21:48but it's very nice,

21:50or very nice.

21:51I don't need to say it,

21:52because you're the best judge of a film.

21:55I can only request you, I can only request you that there is a film that I think is a PR, a marketing work that I think is aware of, a decision.

22:07And if you take a decision to watch the film, just like my other films and Suparan, so much work, good work Suparan has done,

22:15this film is a very special story. And why is this a story that we are doing the 1980s, but today is relevant, and there is a very important question and answer.