Koffee with Karan - Season 2 Episode 11- Rakesh Roshan, Rakesh Mehra, Kunal Kohli and Raju Hirani
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00:00Good evening and welcome to Coffee with Karan.
00:08Now, 2006 was one of the best years of Indian cinema.
00:11It rained blockbusters and thundered critical acclaim.
00:15Tonight, on this special episode of Coffee with Karan,
00:17we have with us four filmmakers whose films not only brought in the moolah,
00:21but also created a big, big impact.
00:23Now, my first guest tonight is a veteran filmmaker.
00:26He has a near 100% commercial success track record.
00:29He's responsible for giving India one of its biggest superstars and its first superhero.
00:34Now, I admire his work tremendously, and we also share an alphabet in common, K.
00:38Please welcome none other than Rakesh Roshan.
00:54Alright, I'm not going to say anything to you initially.
00:58I'm just going to show you something which I want you to watch before we get on to talking.
01:01Please, have a look.
01:02Krish is our superhero!
01:16Krish is our biggest superhero!
01:19Krish is the best superhero!
01:21Krish is my superhero!
01:23I love you, Krish!
01:24I love Krish!
01:25I love Krish!
01:26I love Krish!
01:27I love you!
01:28I love you, Krish!
01:29Yes, I love Krish!
01:30Krish is an awesome movie for me.
01:36And, uh, the Ritik Roshan acts so nicely that my eyes are on him only.
01:43I love Ritik Roshan and Krish!
01:45Krish is my favorite movie!
01:47I've seen it four times, I just like that movie!
01:50I like the mask which he wears!
01:51He is better than Superman and Batman!
01:52His hair and his muscles!
01:53Krish is better than Superman and Batman!
01:54I love his muscles!
01:55Krish is better than Batman and Superman any day!
01:57Better than any other superheroes like Superman and Batman!
01:58I love Krish!
01:59I love Krish!
02:00I love Ritik Roshan and Krish!
02:26I love Kings!
02:29the world. How does that feel sir? It feels great because to hear good things from children
02:37is something amazing. And did you ever think when you were initially making mainstream films with
02:44all your commercial successes in the past, be it Karan Arjun or Khunbari Maang and all of the
02:49other great films you've made, did you ever feel you would create this kind of an impact with
02:52children? I always wanted to make films for them, but maybe the time was not right that
03:00time. So according to the time I started moving, I made a romantic film. Then I said, let me
03:10make a film for children. And I made Yes. And then I wanted to change Hrithik's image from
03:19a mentally challenged boy to a superhero. Yes. And I made Krish then. Yes. Up till then,
03:23there was always one kind of remark made by the fraternity and people of the media by and
03:29large that Hrithik Roshan only works in a Rakesh Roshan film. It's only his father that gets the
03:33best out of him. Till Dhoom happened. Did you feel an internal divide at home? Because Dhoom
03:37is actually a Hrithik Roshan film all the way and yet emerged as the biggest money spinner
03:42of 2006 while making Krish the second biggest hit. Did you feel like divided internally as
03:47the filmmaker and the father? No, not at all. On the contrary, I was very happy because
03:51the film belongs to my son. Yes, totally. But what I find amazing, sir, and which is what I'm
03:57going to share with when we call the other filmmakers on is that I think most of us are
04:00younger filmmakers today. And you've been around as a filmmaker for over 20 years now and been
04:05in the industry for, I think, 37 years now. And I think what's amazing that today you're
04:11on a panel of filmmakers that's possibly made one of the youngest films in that respect.
04:15It has all the visual effects. It's India's first superhero film. You've done this at this
04:19age. Did you ever, like, do you realize that at times?
04:23Karan, I know it was a difficult task, but if you see that in the Roshan family, we have
04:32a producer-director, we have an actor, and we have a music director.
04:36Yes, in the family.
04:37In the family. So there are four pillars of a film.
04:41Yes. So I thought if I don't take this step, who is going to take this step? Because it
04:47is not a normal step. Yes. It's a leap. Yes. We could have fallen badly. Yes. But I said,
04:53no, if I'm making such kind of a film, I must have the best technicians with me. Yes. So I
04:58went ahead and signed Tony Ching from China. I got special effects people from Los Angeles
05:03and spent a lot. And we worked to the manual details because I couldn't afford to lose
05:09any money. Yes. Or waste any money.
05:12All right. Well, fantastic. Well, I think, sir, you have all the reason to be proud. And
05:16also the other filmmakers today have lots of reasons to be proud as well. We're going to
05:20call them on in the next segment. We're going to take a break. In conversation with Rakesh
05:24Roshan, the man behind Krish. Stay tuned. We'll be right back. In conversation with Rakesh
05:35Roshan. Sir, have you seen all the films, the bigger, most acclaimed films of the year?
05:40Have you seen everything? Yes, sir. In fact, I see every Friday I see a new release.
05:45Well, we have a host of filmmakers who have done some very special work in 2006. Now, the first
05:50of them is a filmmaker who promised that he would awaken a generation, and he did and
05:55how. He's responsible for making one of the most acclaimed films of this decade. His film
06:00also was the Indian entry to the Oscars. Please welcome the genius behind Rang De Basanti, Rakesh
06:05Mera. Wonderful. Welcome to the show, Rakesh. Thanks for having us. Thanks to each other. Did you
06:30really imagine, envisage or preempt the kind of impact your film created globally? Honestly, no,
06:37not at all. And I thought my work will be over when the film releases, which is 26th of January.
06:45Yeah. But actually, the work started on 26th of January. Oh, really? Yeah. With the kind of
06:51adulation we got from the people, from the critics, from the press, from the film fraternity. I still
06:59remember the first message I got was from Rakesh Ji himself. Oh, really? And a lovely message. I still
07:05kind of cherish it. Yeah. So I really didn't envisage. It's also screenplay that kind of did the rounds
07:12before it kind of got settled in, didn't it? Yeah, it did. It did. And did you go through pangs of
07:17insecurity that ye ho ga nahi ho ga? Did you go through that at all? Every living moment of my
07:23life, sleeping, waking up. It was always, there's always a fear when you love something. Yeah. And
07:30you, there's always a fear of losing it. So, yeah. And did you at all feel rejection whenever maybe an
07:37actor who turned it down or a production house that wasn't interested in it?
07:40Rejection, yes. But, uh, in a very different way. Um, it only made us stronger. Yeah. Because
07:50everybody, uh, who didn't do the film in its earlier days didn't reject it outright.
07:57What other issues was with it? Some way or the other, it never was meant to be with, uh, that
08:05team. Either in front of the camera or behind the camera. But yes, uh, I'm not complaining.
08:10Finally, uh. You don't feel there's any kind of poetic justice dished out to you now?
08:14Not really. This is part and parcel of the game. Uh, all of us can't do all the films. I, I,
08:22like, I can't do a Krish. I would love to do a Krish, but yeah. You don't feel you're capable. I don't
08:27feel I'm capable at all. I feel I'm totally the wrong choice for a film like A, Rang De Basanti or
08:31Krish. I, I would dream to do a Krish. Well, I think I would too, but I think some things are beyond
08:38our abilities or capabilities. Thank you. And we're going to now introduce my next guest.
08:44Clearly, Gandhi Giri is a term that should be in an English dictionary now. It's that kind of
08:48impact that the film has had. Please welcome the one man who brought Mahatma Gandhi's
08:52ideologies and his vision to the younger generation. The man behind Lagerah Ho Munna
08:56bhai, Raju Hirani.
09:12I feel we are at some director's summit today. I feel like, you know, like, and I'm hosting
09:18this summit for no rhyme or reason. Soon we'll start interviewing you. Me, I think you should.
09:22I think I need that. So Raju, tell me, I asked Rakesh this question that, because I know
09:27that this is of course, um, your second success in a row, uh, with the Munna bhai series, of
09:32course, growing from strength to strength. Did you feel that this film did four times the
09:36business of your first in every pocket of the country and performed exceptionally well
09:40overseas? Did you ever expect this to happen?
09:43Very honestly, no. No one says that they ever expected it. Everyone's been quite modest.
09:50No, I'm, I'm, I was scared, actually very scared for the simple reason that here was a film with,
09:54uh, uh, Mahatma Gandhi. So, uh, all conventional commercial wisdom said that. Yeah. Uh, in fact,
10:00we were even trying to hide the fact that the film had Mahatma Gandhi for a very long time.
10:03Come on to your initial. Yeah. A lot of people, uh, the initial reactions were that, you know,
10:08people will think it's a serious film. Yeah. So, so, so all wisdom said that, uh, this film
10:13should not do well. Yes. So, uh, but it's a film, which was obviously close to the heart.
10:17And one was hoping that even if it does reasonably well, it should be, uh, you know, and I was also
10:21scared that how people within the country would react to something like Mahatma Gandhi. In fact,
10:27uh, I, I told my office, please, but luckily they actually, uh, you know, saw the larger picture
10:35and took it in the, uh, uh, did you actually feel personally that there's a generation that
10:41has forgotten Mahatma Gandhi? Uh, the first recording of the song we were doing, uh, there
10:47was a guy who came to serve chai. He was very fascinated with the fact that Munnabai is being
10:50recorded. So he, uh, talked to Shantan when he said, the film ka naam kia hai. That time
10:55it was called tentatively, Munnabai meets Mahatma Gandhi. So he said, Munnabai meets Mahatma
10:59Gandhi. And, uh, this traveler said, Munnabai toh thik hai, Mahatma Gandhi kaun hai. What?
11:03Yeah. Really? My God. So, so, so, uh, I went home. I remember, uh, speaking to my, the maid
11:09at home and she didn't know who Mahatma Gandhi was. Till I realized that actually if you've
11:13not been to school, probably you have no idea of, uh, uh, who Mahatma Gandhi is. That's
11:17an unfortunate fact. And you didn't realize it then that it's now so tremendously a part
11:22of every school syllabus because of the film. Makes you feel good. Of course it does. If
11:28I hold that thought, I'm going to introduce the last filmmaker on this director's summit.
11:33Uh, all right. His first film may not have been a thundering success, but his next two
11:36have met with tremendous amount of acclaim and commercial success. He is the great writer
11:41of Tham Thum and now the director of the very, very successful Fana. Please welcome Kunal Kohli.
11:46Welcome to Coffee with Karan. With Karan or with a panel of directors?
12:00You're not so, uh, uh, uh, well, I would say you're not so new to television now, are you
12:05now, Kunal? You've done some hosting, you've done some judging, you've done, you've also
12:09hosted a show a while ago. So coming on a talk show is not so much of an issue for you.
12:13Yeah, I'm a little more relaxed than them. All right. So, uh, did you expect Fana to
12:19be the success it was? Uh, I prayed for it. I hoped for it. Uh, but I didn't expect it
12:25to be such a big hit and, uh, I don't know what the other directors have said about their
12:29films. You know, everybody here has told me, of course, yours was, of course, the biggest
12:32offing of the year that time, but all these three younger filmmakers have all said that
12:36they didn't expect their films to do as well as they did. I actually expected my film
12:40to do much better. I just want to tell you that I'm, I'm the other ultra. I was actually
12:45shocked in an ultra way. I expected it to do really well and it didn't do well domestically
12:51to what I, so I have a different answer. Okay. No, but I, I mean, like I said, I hoped,
12:56I prayed everything because it was, uh, you know, I got two fabulous actors, Amir and Kajal.
13:03And if I hadn't delivered with them, then people would say that, you know, stone you,
13:08you didn't use Amir Khan and Kajal. Yeah, they would kill me, you know, and you know,
13:12people had such high expectations from Amir and Kajal coming for the first time and Amir
13:16in a love story after such a long time. So it was kind of scary. And I mean, the film
13:20being the kind of film it was, it wasn't your standard run of the mill commercial film.
13:25You know, it was, I, I mean, I would like to believe it was slightly different. The second
13:29half was little unusual. Two people trapped in a snowstorm in a house. So we were really
13:34scared about the second half of the film. And you didn't want to trap an audience by
13:37yourself being trapped in a house. Yeah. But it was very difficult to emerge from there.
13:41Very difficult. And of course, you must have been very happy Raju that Sanju is brand Munna
13:44bhai today. Yeah, it happened. He told me on this show, he came and he said he was offered
13:49in the first, which is a lesser known fact to all of us. He was offered Jimmy Shergay's role.
13:52I think what he didn't tell you was, uh, Jimmy's a role, uh, Jimmy's a, Jimmy played the role
13:57of a guy who's, who's never slept with a woman. And so what, you can't play that role.
14:02You can't play that role.
14:04That he didn't tell her. That he didn't tell her. All right. Hold that thought a bit.
14:09Take a break. In conversation with four of the most talented filmmakers of Indian cinema.
14:14Stay tuned. We'll be right back.
14:15There's only one reason why a film is brilliant. The director. In conversation,
14:26what do you want to promote yourself? Don't you agree, sir?
14:31Absolutely.
14:32There's only one reason why films are good is because of the director.
14:35I'm a kha, these actors take credit for no reason. I'm telling you. Even your son, I want
14:39to tell you, he must tell you that it's you. There's only one reason why your films work
14:43is, it's, it's you. Don't you agree? I agree, fully agree. It's the film which works.
14:47It's always, don't you? What do you think?
14:48I'm made to, I heard that it's a director's medium.
14:51Yeah.
14:51And, uh, honestly, when I got into it, I didn't know it was a director. I didn't believe that.
14:58And, uh, it took me the second film to understand that, uh, why do they call it a, uh, director's
15:06vehicle as such? Because, uh, more than just making a film, there's a, there's a emotional responsibility.
15:13Which comes on your shoulder.
15:15Yes.
15:15To, and you discover the film as you go along, as you make it. Nobody can say that, I knew
15:21that this will be my film. People might say, I can't say. So, I, I tend to believe it's
15:26a director's medium, yeah.
15:27Well, it is, because they say a director's a captain of the ship, but sometimes, you know,
15:30actor doesn't turn up on the ship, it doesn't move. Uh, so that is the only, that is the
15:34big problem. There's always this dichotomy that runs right through the industry.
15:37I think the only mild criticism that came your way from a certain section was the climax
15:42of your film. That's right.
15:43Where I think there was a different take on whether or not the death of the politician
15:47or the, the killing of the politician was justified and fell into the slot of the film.
15:51Uh, did you feel the need to justify it or did you feel that the characters were driven
15:55to do what they did eventually?
15:56Uh, quite obviously, uh, I felt the need that the characters, uh, did what they did because
16:05that's what is on screen. If I would have felt otherwise, I would have shot it otherwise.
16:09Yeah.
16:10Essentially, my point of view was that, yes, uh, killing of the defense minister is politically
16:16incorrect, but filmmaking is not about being politically correct. Uh, then I should get into politics.
16:23Yeah. And of course, I'd like to add something to what Mera just said, because, uh, I had
16:29a discussion after seeing the film with some filmmakers who felt that the climax was not
16:34right. And, uh, and, uh, the impact of the film had not yet been felt. And I felt at that
16:40time very strongly that that is not what people are going to take home. That if you have a problem
16:44with someone, go and shoot the defense minister. And I think that was proved when people took
16:48out the candle marches for, uh, for the Jessica Lal case, no one went and shot Manu Sharma. They
16:54went and took out a candle procession, which never happened earlier. That happened post-
16:58Post-Rang Debasanthi.
16:59So I think the audience is very intelligent. They take out the right things from the films.
17:04We got to give them that. They will take what is the correct message and the intention
17:10of the filmmaker.
17:11And there was, of course, uh, veering towards you in this world of cynicism, there came a
17:16Munna bhai that, uh, made you all. Like I remember I walked out of, uh, a screening in
17:20New York. I saw Munna bhai on opening night in Manhattan. Yes, we saw it together. And,
17:25uh, and we got back. And as I walked out, I think we were still with different people.
17:28There was a Sardar man who came up to me and he said,
17:30You should make this picture. You are going further from the tradition. You are going
17:34from the tradition. And he said, What did you do? You should make this character.
17:38You must go to a street.
17:43So I had to face the Munna bhai way first. And I actually had gone to New York to get
17:49away. And as soon as I got out, I was attacked by this whole Sardar family. And he said,
17:54You should make a good look at your picture.
17:57So I was like, you know, I said, maybe as a filmmaker, I'm kind of bordering on being
18:01slightly more cynical, you know, even possibly at a younger age. And I should change my mindset.
18:05Uh, did you feel that, you know, in an over cynical world, you're coming out with this
18:09power of goodness film, and that could work against you?
18:13Uh, see, uh, as Rakesh said, when you're writing a story, you're obviously not thinking that
18:17it's not going to work. Otherwise, there's no reason you'll, I believed in it and, uh,
18:23kept entertainment as the basic format. And luckily one had characters like Munna and
18:27the market who are there, who people identified with them. So I knew there's a hell of entertainment
18:32in this. So I, if it would have fallen on the face and people would ridicule it, then
18:36I would have, you know, really sunken somewhere. But luckily for me, people kind of, uh,
18:41Luckily for you, people kind of, that's the understatement.
18:46It could have been scary. I totally agree with you.
18:48I know, I know.
18:50Well, we're going to get back to you right after the next segment about the importance of critics
18:54and mainstream cinema. And I know you have something to say. Okay. People, the audience
18:59is always given their verdict, but there's a whole host of people who also offer their opinions
19:03every Friday. They're called the critics. Let's find out what the filmmakers think about them.
19:07We're going to take a coffee break. Be right back.
19:16Critics in mainstream cinema. So what do you have to say?
19:20Okay. Okay. All eyes on me. I used to be one. Yes, that's why. Okay. Um, I have very little,
19:28very little respect for most of the critics today because I don't think their knowledge of cinema
19:34is deep enough. Their passion for cinema is deep enough. And I think a critic needs to have a tremendous
19:41knowledge of cinema and he needs to be totally unbiased. And he or she also needs to have no agendas.
19:48I don't see that in most of our critics. Well, what is your take, sir? You're also somebody
19:54who's been in the entertainment business for two decades and have made the biggest hits in the
19:57business. Uh, what importance do you give critics? See, I feel that, uh, the biggest critics are the
20:04audience. Yes. And, uh, you should take them seriously. Yes. Not these people because they don't know,
20:13they don't know anything about filmmaking. They don't know what commercial film is all about.
20:17Yeah. So I don't give them importance at all. I don't even read the reviews.
20:22You don't? Not at all. That means that the good thing is that even when they praise you,
20:26you're not interested. I'm not, yeah, I'm not interested. Because I ring them in the morning
20:29at nine o'clock to the exhibitors and ask them what was the reaction of the audience. Correct.
20:35And they say, yes, all these scenes are very good. They clapped on these songs
20:39and they clapped on the scene or they walked out from that, that scene. That gives me all the
20:44pulses of the audience. Now, the center, of course, are the critic darlings of 2006.
20:50Let's find out what, what, what we have to say. Oh, as in you, me, of course, I wasn't. But,
20:55what about you, Rakesh? Because you, of course, got a thumbs up for most.
21:01Critics, whether you like them or you don't like them, fortunately or unfortunately,
21:09they do influence the mindset of an audience, especially of an audience who don't have a loyalty
21:17towards like a Rakesh film and which is, he's made so many great films and successful films.
21:24And he has, he's a, he's a brand that is great and tremendous.
21:27Just like you, Karan. And so they would read, who is this Rakesh? What is the critic
21:33saying about him? What are we reading about him? Oh, this is a so-so film and they're good things and
21:39they're killing defense minister, this and that. And everybody dies in the end. Let's not see this
21:43film because let's do something else. Let's go out and have a dinner tonight. So they do influence.
21:48But then again, there's a huge responsibility on the shoulder of the critic. And like Kunal was
21:54mentioning earlier and Rakesh she then said is to, to do a job of a critic, you should know your job.
22:02You should understand what you're talking about. You should have, your life should depend upon
22:08what you're writing. Yes. And you more often than not, I see critics, uh, telling the story of the
22:15film. Yes. That's not a critic's job to tell you the synopsis of the film. Yes. And they end up by
22:23praising the actors because they don't want to get on the wrong side of the actors. I have read essays
22:29of critics. Uh, in fact, uh, there are books published on film writings, on film critics,
22:35which if the critic, if the criticism is good, as a film student, which I am today, I could learn
22:41about how Piasa was, uh, uh, say received when it was released or how Mother India was received or a
22:49do because I mean, but if, uh, somebody has lambasted Piasa for his own personal agenda, he is putting
22:57something on record for generations to come and see this was the kind of stuff. And it's archived for
23:02posterity. So, so it's, it's like, um, um, it's, it's like a no brainer to me. Like if you're a
23:10critic, then learn to be a critic. Well, we'll find out what four critics have to say about the
23:15films of 2006. We've heard what you had to say. Let's find out what they have to say. Please have
23:19a look. I'm in the company of four mainstream critics. So it's almost like critics with Karan.
23:23We're actually here essentially talking about the year 2006 and we have the four filmmakers
23:28actually watching all of you right now. Let's start with you. Your, your take on these four
23:32films, your take on these four filmmakers, Raji. Rang De Pasanthi and Lagirah were, uh, of the four
23:38were my personal, personal favorites of the two. Uh, what about you, Mayank? I had a really serious
23:43problem with Fana actually. It's one thing to have a Dr. Dang. It's one thing to have a Gabbar.
23:47Don't give me some IKF, uh, you know, international, whatever, Kashmir Liberation Army, which is
23:54funded by no one, had some, you know, remote control for a nuclear device.
23:58It just, it's just way too juvenile. But you do know that Fana is one of the biggest
24:02grocers of the year. Why did Fana work? But, uh, Karan, if you really want to know
24:07why a movie does well, then you need four psychologists and not four critics because
24:11I can only tell you what works for me. Yeah. Yeah. Okay. Now, whatever your issues may be for any of
24:15these films, but we're talking about Krish, would you be very excited as not only a critic, but as a
24:20synagogue, would Krish too excite you, Sarita? If you look at all the superhero films, even,
24:24I mean, if it's a superhero with a mask, if you would put anyone in his place, maybe Arjun or
24:29Saif or whoever, you know, that film would have worked. Why Hrithik? I really have a problem
24:33because Hrithik didn't bring anything to the film. Can I interrupt? I think he was the only thing that
24:38made that film work. No, I think, I think the, I think the hero of Krish was the action. And I got a lot
24:42of letters saying, people are saying that, you know, that's unfair and everything, but I still believe that.
24:47But I think in Krish, I think he definitely brought the last 40 minutes. That's it. That's all you,
24:52every, everyone talks about the last 40 minutes of Krish. I mean, do you want to sit there and watch
24:57those three and a half? You may not, but the world did. Yeah. They're not accounting for taste, Karan.
25:02Yes, Khalid, Krish. Yes. Okay, Krish. I think Krish marked an advance for Indian cinema because the action
25:08was really good. So we have to give full credit to Mr. Roshan for that. I think Hrithik continued his
25:14kind of performance into here and made it slightly different. He's very good. And I think,
25:20yeah, I think he was damn good. I mean, if I had to give an award this year, it would go to him for
25:25that and to Dhu. And we're talking about Munna Bhai. So you think Munna Bhai is the film of the year?
25:30I think it is. Its strengths, according to you. Um, I think the fact that it just, uh, it just made you
25:35feel good about yourself. It's a film that, uh, made you want to be a better person. It made you believe that
25:40the world could be a better place just with, uh, um, by the, by doing the simplest things,
25:45by just being a better person. I think, I think really it was something that, um, you, you sort
25:49of yearned and believed that the world could be a better place just so simply. It could soften you.
25:53I'm sure it's effective, Raji. What about you? For me, the movie of the year was Rangdee Basanti.
25:58For me, it's much more than a film. I mean, I think it's affected the nation, the people,
26:02its way of thinking. For me, it's, you had an issue with Rangdee. Yeah. Basically, you know,
26:08the, I'm, I don't have an issue with Rangdee Basanti. It's just that, uh, in terms of this point,
26:12you know, the, we, the people against the system, against the apparatus of the state,
26:17that that's, that's the oldest, uh, angst of India. Khalid. Okay. Rangdee Basanti,
26:22I enjoyed to a large extent, uh, right till the finale, which I thought went hey, why it became
26:27like one of those old Amitabh Bachchan films where Amitabh goes and shoots up people. I don't think
26:32it's right to preach, you know, just kill. Finally, that's the subject of all revenge. But didn't you think
26:36the master narrative structure, the, the, the cross-cutting screenplay between,
26:40between two time zones, I think was the first. Yes, but I had seen something like this in a
26:44film called Jesus from Montreal. The whole thing of, uh, you know, a troop in Canada performing a play
26:50on Christ and then getting very affected by it. So to me, that kind of, the plot premise didn't,
26:57uh, you know, say, wow, of course it was well executed. And I think the performances were
27:02extraordinary, especially Amit Khan and, uh, I think Siddharth. Okay. It was smooth. It was
27:08well textured, well shot, but finally it left me, I thought it was, went haywire towards the end.
27:14And when it doesn't send you out and say, what the hell happened there? So that's where I had a
27:19problem with Lagera Ho Munna bhai had no problems whatsoever. I mean, that film really made me cry and
27:24weep. It's like one of the old Rishikesh Mukherjee films, but that's not its only virtue. I think it is
27:29beautifully crafted script. His dialogue is tops. The music was a bit so, so cinematography. It could
27:36have been slicker, but I think nothing of that mattered. Thank you very much. Thank you for
27:41giving me your time. And thank you for chatting about the films of 2006. What do you have to say,
27:46sir? Should they be sitting and giving any kind of judgment to us at all? I know. See, one of the
27:50critics said that, uh, to, uh, be behind a mask, you can take any actor that that means they don't know
27:57what body language is. Yeah. They only see for facial expressions. That's true. Acting is not just
28:03facial expressions. Yes. It is a body language. It is how you take the character. Yes. You, you can't
28:08make me a dacoit. I won't look like a dacoit. Yeah. So you have to take the right actor. Rakesh,
28:14what did you have to say? Half the time you're talking about, um, retrospectively what the film did,
28:20which is six months later. That anybody, any ordinary layman can say, not a critic. A critic is
28:27somebody who sees the show, the first show and can feel the film and convey his feelings. Yes.
28:37See, they've said good things about me. So I'm proud of the wrong guy to answer this. That's why I said
28:43this. Yes. But, uh, uh, see, I'm saying just assume for a moment there's no critics don't exist.
28:48They never existed. There were nobody like critics. Still, somebody would be critiquing the whole thing.
28:52There would be an audience would say good or bad. So in a way, I think everybody's entitled to an
28:56opinion. Yes. It's, it's an opinion, which is offending us saying, okay, they are wrong.
29:01It's something about our films, which is offending them saying this is wrong. So I think it's a,
29:05it's a nice conflict makes a great show here. Okay. Yeah. I'm not taking it personally.
29:10There's nothing personal about it. No, no, no, you should take it personally. What,
29:13there's nothing. I mean, at the end of the day, everybody will be there, everybody will be there.
29:16It's okay. This is, yeah. What is really, as Rakejji said, people eventually decide for themselves
29:20whether this film is to be seen or not. I feel, I mean, uh, I think one billion Indians have spoken
29:25about our films and they've enjoyed our films. And if I'm at a restaurant and a waiter comes up to me and says,
29:31that touches me more, that means a lot more to me than four, uh, four people sitting on a high
29:38horse and saying something. Well, good. I like that. I, of course, have only had divorce lawyers
29:43calling me. So am I getting the coffee hamper? No, you still haven't done the rapid fire.
29:47Because these two are getting the awards this year. He's got Ritik as a son and Rihal as a
29:52grandson. And he's got the biggest hit of the year. And he's got the biggest hit of the year. So I
29:55need the coffee hamper. You need the coffee hamper. You have to fight for it, Kunal. You're going to fight
30:00for it. Sorry. You're going to fight for it. It's been booked already. It doesn't come very easily.
30:04And I'm going to go on to the rapid fire round, which is, uh, you know, as I hope all of you are
30:11familiar, the questions are very simple. The answers need to be rapid and there has to be lots of fire.
30:16Otherwise, you don't win this very prestigious, which I'm sure, sir, matters more to you than any
30:20award. More than the screen or the pin pair is my coffee hamper. All right. I'm going to start
30:26with the senior most. Okay. Rikki, maybe for you, but a young director whose work you're very impressed
30:30with. Yashoboda. Fantastic. I think that's superb. All right. A film you saw in recent times that you
30:41wish you had made. Lagan. All right. The first thing that comes to your
30:46mind when I say the following. Electronic media. Making mountain out of a molehill.
30:51Film critics. Everybody makes mistakes.
30:58Film award juries. I think they must have a jury to select the jury.
31:05The one actor or actress you miss working with the most.
31:10Madhuri. Yes. I worked with her for three films and I think she's a brilliant actress and a very good human
31:15thing. Wonderful. I think we all agree. The one performance of Hrithik which you're most proud of.
31:20I think it's still yet to come. Okay. Fantastic. Very quickly. These are choices.
31:26Koi mil ke hai o krish? Film closer to your heart. Krish 3.
31:30Ah. The future. Fantastic. All right. Okay. Friends here. Rishi Kapoor or Jitendra?
31:34Krem Chopra.
31:39All right. Sorry he wasn't in my choice, but fantastic. All right. This is nice and sweet.
31:44Hrithik the son or Hrithik the father. The sight that makes you happier.
31:46Uh. Hrithik the father. All right. Thank you very much. Thank you very much. I think
31:52everyone will agree you did exceedingly well in the back of my round. Yeah. Fantastic. All right.
31:57Okay. Too good. Okay Kunal. Are you ready? All right. Good. The one classic film you'd love to remake?
32:05Kaagas ke Phool. Fantastic. The one classic film that should not be remade? Kaagas ke Phool.
32:12Okay. The worst criticism you received for your film is?
32:20I've received so many that I can't. You can't remember. I can't remember. You can't sort those out.
32:25Yeah. I've received so many criticisms for all my three films. So I really can't sort them out. Oh God.
32:30Poor you. All right. Okay. The first word that comes to your mind when I say the following.
32:34Film award juries. Some are biased. Okay. Critics. What's that? A film in the recent past.
32:43And be very honest. One of them could be mine. Uh. To which you were able to give the following
32:47reviews to yourself. Crawls in slow motion. Oh God. Kalen you're going to get me killed.
32:53Crawls in slow motion. Anthony Connery. Anthony Connery. All style and no substance.
32:59I've made friends. Ah. Clever. Regressive. I've made friends. No, no, no.
33:08Amper's not coming your way Kunal. He was regressive.
33:10Kunal is not coming your way. Okay. Which actor would be the best choice to play the following characters?
33:15Rambo. Hrithik. A homosexual depiction.
33:20I'm saying this purely because of his acting talent. Aamir or Hrithik. Because they're both great actors.
33:25They can portray anything. All right. I'm saying this with full respect to their acting talents.
33:28Fantastic. Very quickly then. Yash Chopra or Aditya Chopra? Aditya Chopra.
33:32Okay. You're not getting the next film. Rani or Kajal? Oh no.
33:42Rani stood by me when nobody was standing by. No, no. We don't want long speeches.
33:45Rani. Rani. All right. Okay.
33:48Shahrukh or Salman? The Khan you'd love to work with next?
33:54Shahrukh. All right. Aamir or Saif? The better actor?
33:57Aamir. Well done Kunal.
33:59Shahrukh. In between I thought I'd lost you but you kind of gained momentum towards the end.
34:03Fantastic. All right. Are you two ready?
34:08Okay. I'm going to go with you Raju. Sure.
34:10All right. Here we go.
34:12The one legendary Indian director you would have loved to have assisted?
34:16Gurudath.
34:17The first thing that comes to mind when I say the following. Remakes. Don Umarajan. Like that.
34:22Better left alone. Okay.
34:24Himesh Rishamia.
34:27Nasal.
34:28Okay. Leave your brains at home comedies.
34:34Take your brain with you. Don't leave them at home. Medically not fit.
34:43All right. Fantastic. If Mahatma Gandhi were alive today, what advice do you think he would give to
34:48the following? George Bush?
34:51Better do Satyagraha rather than invading Iraq.
34:55Ah. Fantastic. Fantastic. Osama bin Laden.
34:59The same thing. There are better solutions than flying aircrafts into the buildings.
35:04Okay. Great. A piece of advice you were given during the making of Lagero which you're glad you didn't take.
35:08The title of the film. All right. You fought for that?
35:15Yeah. Vinod wanted Lagero. When I met Mahatma Gandhi and I thought Lagero was...
35:22Better. Yeah. All right. Great.
35:23Your choice of the following. The most underrated actor in Hindi cinema today.
35:28Sanjay Dutt.
35:28Oh. That's a tricky one. I'll take the name of a friend. Baman Irani. You'll understand.
35:42Yes. All right. Okay. Here you can say my name. Overrated director. I'm quickly saying it so that
35:47that I don't get offended. Okay. You'll understand. Okay. Fantastic. I agree. I am actually.
35:55All right. A piece of advice you'd like to give me for my next film.
35:58Drop the tape. All right. Okay. One person in the world who you really think very Munabhai style,
36:05we need to send roses to. George Bush. George Bush. All right. Okay. Very quickly then.
36:12Vidhu Vinod Chopra, the producer. Vidhu Vinod Chopra, the director.
36:14The producer. All right. Okay. Rani Kajal or Aishwarya, the better actress?
36:23Who'll understand. Or rather, who's not next?
36:30Tajol. All right. Critical acclaim or mainstream success?
36:33Critical acclaim. Oh, really? Oh. Okay. Shah Rukh Khan or Aamir Khan, the better actor?
36:40Who'll understand. I think Aamir will understand. So, Aamir. He won't understand.
36:47So, Shah Rukh. All right. Okay, then. Very good, Raju. My God. This is going to get very tough to decide. All right.
36:56That was a lovely round. So, what's next?
37:00You're next. All right. Okay. Fantastic. The one thing you would change in AX, which was your debut film,
37:08if you were to do it today? Screenplay. You'd change the screenplay? Yeah.
37:12All right. Okay. The first word that comes to your mind when I say, David Dhawan comedies?
37:18Number one.
37:19You can't use the word he used.
37:24A rock star. All right. Okay. Remakes like Don and Umarajan?
37:32Need a point of view. Okay. Fantastic. The one trend you'd like to see less of in Hindi cinema?
37:37Lip syncs. Lip syncs songs. Of course. Oh, God. When will I learn?
37:42Well done. Three films in the last five years that you wish you had directed?
37:48Starting now. Krish 3. Okay.
37:51Lageroh definitely. Okay. No question about that.
37:55Definitely Lageroh. All right.
37:57The most absurd critics comment you read or heard after Rang Devasanti?
38:02It's like a train. We are waiting to come crashing down.
38:08Oh. That is quite absurd actually. A politician you think deserves to be applauded?
38:15Sonia Ghani. The one thing that youth would have changed in Rang Devasanti if you could?
38:22The length. Make it shorter? Yeah. All right. That's honest of you. If Aamir Kun do the role or
38:30would not have done the film, your preferred second choice would have been? In retrospect now,
38:35Ritik. Quickly then. Choices. Aamir the actor or Aamir the man? The human being. The man.
38:42Aamir the man. All right. Aamir Bachchan in Diwar or Aamir Bachchan in Black?
38:46Diwar. Okay. Rani Kajal, Aishwarya Kareena. The actress you're dying to work with?
38:52Kajal. Shahrukh Ritik, Aamir, Abhishek Saif. The actor you'd love to work with next?
38:58Aamir. Aamir again. All right. Okay. Fantastic. The Oscar or the film fair? The Oscar. Okay. Super.
39:08All right. So that was the rocking rapid fire round. I don't know who
39:12is going to win this. You'll have to just find out. We'll be right back.
39:15I'm proud to announce that this time, and it happens very rarely, there is a tie. Now, and the tie,
39:30I love the way I've given my coffee hamper and my rapid fire so much important. The tie is between Mr.
39:37Rakesh Roshan and Rajo Hirani. I'm very happy to give both of you this coffee hamper. Have it
39:45together. So, because Rakesh G is the senior most, I would give it to him. And you can share,
39:50but of course, both of you. I've got to have a coffee. No, you'll still get it, Rajo. You'll still
39:54get it. Thank you. Thank you for taking part. Now, these are all listing the films of the year,
40:00the films that were special, that films made a big mark. Now, we want to find out the director's
40:04favorite choice of which film they feel was the film of the year, and you can vote for your own.
40:10So, this list has Krish, Kabhi Alveda Na Kehna, Om Kara, Fana, Rang De Basanti, Dawn, Dhoom 2,
40:17and Lageru Munna Bhai. Now, we'd love to hear, and I'm sure the world out there would love to know
40:21what the directors think should be the film of the year. So, you have to give points out of 10.
40:25The film with the maximum marks will win the coffee award. This is the coffee award. Give it to the
40:33film of the year, voted by the filmmakers. I think we are the most honest and the most,
40:38I would say, the most credible jury that exists in this world. Don't you agree?
40:41Totally. All right. Fantastic.
40:46I truly feel I'm in the middle of an exam, but we have some wonderful results of what the directors
41:04feel should be the film of the year. I have the data in front of me, and it's really quite strange,
41:12because we had points on 50, and I'd like to tell you there are not one, but two winners,
41:17and it's really a tie. And I have the results right in front of me. They're both 44 on 50,
41:22and the two films are Rangde Basanti and Munna Bhai. Absolutely. Well, absolutely no surprises there,
41:30and I really thought this time around, I thought that we would have one clear winner,
41:35but clearly both got 44 on 50, and I think this coffee award will be very proudly placed on both
41:42your mantelpieces. So, congratulations, Raju, and congratulations, Rakesh. Truly well-deserved,
41:48and I think the country endorses that. Thank you so much. Yeah, and on that note,
41:54I'm going to thank you, and I'm going to thank you, sir. Thank you for joining us today.
41:58Thank you, Raju. Thank you for making the movies you do, and thank you, Kunal. Thank you for being
42:02on Coffee with Karan, and before you go, I'd like you to sign that, sir, starting with you,
42:06the mug, which is next to you, which is going to be archive for posterity on our coffee wall of fame.
42:18Thank you very much again, and let's walk towards the coffee wall of fame to place the mug.
42:34Thank you very much for joining us today.
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