Mumbai: During an exclusive conversation with actor Jaaved Jaaferi and Director Rahi Anil Barve, where they reflected on the upcoming film 'Mayasabha' and their storytelling, creativity, and the changing dynamics of the entertainment industry. Jaaved shared his first reaction to the script and spoke about how his experience as a writer and performer influenced his characters. Rahi discussed the film’s title, its thematic setting, and his conscious decision to keep the production minimal. After that, they opened up on artistic integrity in a numbers-driven system, screen count challenges, and industry evolution. Jaaved further reflected on his creative journey, including nurturing talent through 'Boogie Woogie' and his approach to artistic expression.
#JaavedJaaferi #RahiAnilBarve #Mayasabha #exclusiveconversation #entertainmentindustry #workexperience #productionminimal #artisticintegrity #creativejourney #BoogieWoogie #challenges #industryevolution #Trending #BollywoodNews #BollywoodGossips #BollywoodUpdates #BollywoodNews #Bollywood #Bollywoodcelebrity #BollywoodHindiNews #IANS
#JaavedJaaferi #RahiAnilBarve #Mayasabha #exclusiveconversation #entertainmentindustry #workexperience #productionminimal #artisticintegrity #creativejourney #BoogieWoogie #challenges #industryevolution #Trending #BollywoodNews #BollywoodGossips #BollywoodUpdates #BollywoodNews #Bollywood #Bollywoodcelebrity #BollywoodHindiNews #IANS
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00:00Hello Javid sir, hello Javid sir, welcome to INS and congratulations for Maya-sabh
00:03and Alasabh to release in a few days. So my first question is for you Javid sir.
00:06When he came to you with the script, with the idea, the narration,
00:09the world has made it very in-depth. You've seen it in the past and I'm sure it's the same
00:15as the case with Maya-sabh also. What was your instant reaction that came from within you
00:21and how did you go about jamming with him? Okay, you have made it so much, what will you do?
00:26I think before I studied the script, right? Because normally I prefer what I do.
00:33It was the first time of Tumbard, Tumbard was not released.
00:36Yes, it was the first time when I studied the script. So when I studied the script,
00:44my process is this, I read it first and then I discuss with the director that you are watching,
00:49how it is. So I said, this is a very great script. It is the best script I have read.
00:56And I said, this is the best script I have read. And I said, this is the best script I have read.
01:05Because it is a tailor-made role for any good actor. So I thought, this is the best script I have read.
01:11So I thought, this is the best script I have read. And I thought, this is the best script I have read.
01:19And then I thought, this is the best script I have read. And he didn't plan it as a big budget.
01:27He didn't plan it as a big budget. It was a very modest budget.
01:31So it was very small. So it wasn't for money. It wasn't for money.
01:35But it was the best script I have read. And it was the best script I have read.
01:41And it was the best script that I had read. And I thought, this is the best script.
01:44Or if you are looking into a role, then give money.
01:46It was the basic script.
01:47So I was looking into a role. And I thought, this is the best script.
01:50And then when I saw the vision, I thought, this is the best script.
01:53It will become something great.
01:55So, you know, after that, we went ahead.
02:01I really appreciate it.
02:05It's been a long career for 40 years.
02:09It's been a long time.
02:11It's been a long time.
02:13It's been a long time.
02:15It's been a long time.
02:17It's been a long time.
02:19It's been a long time.
02:21But I didn't think that he was a complex character.
02:25With so many shades.
02:27And I really feel like an actor.
02:31So, that's what I like.
02:35I really have huge respect.
02:39I appreciate that he thought of me in this role.
02:42People don't think about it.
02:45I can't see you in a few days.
02:47So this was the process.
02:54Sir, I wanted to know, the title case, I think the title is set at one location.
03:03It's called the Hall of Illusion also. Is that the case?
03:06See, I'll tell you, after Tumbaart, for past seven years, I basically worked on three projects.
03:15Gulkandar Tils took me five years to make. It was 18, 2023.
03:22Then, Mahisabha. Mahisabha, I had to go to a very different extreme.
03:28Everybody was expecting something like Tumbaart from me. I said no.
03:32That mistake would end you.
03:36Because the problem is that after a lot of struggles, ten years I struggled to make Tumbaart.
03:41And once you got the success, the problem is that people started expecting the same thing.
03:47And you also tried to deliver the same thing. I said no.
03:50Mahisabha was extremely complicated script.
03:53Especially after the interval.
03:56When I listened to the studio, initially I was thinking of making it on a big scale.
04:02Especially when Tumbaart worked well.
04:08The thing is, everyone will instantly think of spreading it.
04:14Putting more money, more actors, more names, blah, blah, blah. I said no.
04:19We are shrinking it. My entire thing is that now I want to do completely opposite of what I did in Tumbaart.
04:25Only one insane location, four characters, one night.
04:31And this story which is what it is. One mistake you made. One minute of a scene you failed.
04:41Or a character you failed.
04:43What happens is that usually in all my other projects.
04:47Gulkanda Tales, Tumbaart.
04:49There are a lot of elements which you can save.
04:51And you can move and move forward.
04:54There are many bricks.
04:56There are only four bricks.
04:58There are only four bricks.
05:00There are only one bricks.
05:02There are only one bricks.
05:04There are only two three bricks.
05:06You can make a nice break.
05:08And the moment you lose interest.
05:09Even in one and half minutes.
05:11That is, you need to make a rap.
05:12And it's a slow dagger.
05:27It's a slow dagger.
05:29different with my sabha. It has to start very, very, how do I say it, that you're not expecting
05:37or whatever you're expecting throughout, it's just backfiring on you, but without creating
05:43any gimmicks. And sole reason it's backfiring is because of the characters. They are real
05:47characters. They are not some gimmicky characters, especially Parmeshwar Khanna. And I was quite
05:52sure that Parmeshwar Khanna, the casting for Parmeshwar Khanna is a make or break for this.
05:57The problem is all the actors, brilliant actors who can play Parmeshwar Khanna, that time
06:05also. I was like, three or four who come to that age limit and all we've seen, they won't
06:14surprise us, even the best ones. They won't surprise us. I need that actor who is exactly
06:22like that, but they won't surprise us. For that basic line, use someone who genuinely
06:31the talent or 5% or 6% use. Who is that? There is only one name. And when I used to say
06:44that to studios, they used to look at my face, blankly, no, nothing. The moment I used to say
06:50that, no, no, for Parmeshwar Khanna, but Javid Jafri in my mind, they didn't know what
06:54the reaction was. Especially after knowing the script, after going to the narration. I started
07:00seeing it everywhere. But I'll tell you what, and that time, it was like, it was what you
07:08call it a passion, a belief. Now, it's a confidence. No one else, no one else would have played the
07:15Parmeshwar Khanna the way this man has did, because slowly, steadily, his layers are open.
07:21The story is not story-driven, but character-driven. The character is coming up with the story and
07:30he is open up with you. Whatever you are thinking of him, it's backfiring. His layers are open.
07:36It's very tough. It's already a larger than character. He has to clown it. It's extremely hype. The
07:48humanity, the fragileness, that fractured sanity, it's the most difficult work. But these 22
07:56days were the toughest of our life. Sometimes we shoot for 17 hours. Constantly. We don't
08:03know if it's outside or at night. We went out. By the day 5 or 6, when I was standing there,
08:10we actually told ourselves that world. That place was such a way. Massive, at the same time,
08:18so caustrophobic. I've never seen a place which is so huge and yet so caustrophobic. And we've
08:25created it. But we become part of it. And I'll tell you, we shot this entire film in chronology.
08:32Which is usually like a very luxury. But not always. Especially his character. And we came on
08:39day 15th. We're near the climax. And something happens, you'll see. When you'll see the film,
08:44you'll understand. And I think, for any actor, it was, when I wrote it, I didn't know how it would
08:54happen. I've written two or three variations. Because the original variation was physically
08:59impossible. Not just in terms of performances. Physically, practically, you're working with
09:05this kerosene, this insane smoke, asthma issues, physical objects that you're hitting, you're
09:13doing. And then, I was not there. None of us could be there. The place was such a way that
09:21he only could be there. And then he created a magic. Then, Javid Jafri did something. Those who
09:28are watching him from 1985, and they think that they know him as an actor. Forget rest of the film.
09:36That is toh another level. But those last 30 minutes. And that was the time I night, that night I
09:44went home and I said to someone close to me that, I know now, there is no more doubts. The gamble has
09:50played. We got Parmeshwar Khannaadi Maska. Asli insaan. The toughest part in entire
09:59Manisabha was to make Parmeshwar human.
10:03And continuing from that, sir, you yourself, you know, write stories. You have a very good
10:10sense of how the characters would move ahead, maneuver their way around the story. You have
10:14done copywriting as well. So now, when a director comes to you, for example, when he comes to you
10:18with the character, this is a-a-a-sa-a-sa. While you're filming it, what character will
10:23have the choices and the choices he's taking or the decisions he's taking, how do you
10:28have the choices and the choices he's taking? No, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
10:35Because a writer, I don't know, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
10:54Because one day, one day, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
11:24character. So, they are thinking why he will do it. But beyond that, I don't know. My
11:31idea as an actor is that I can do this character, which the director has thought that I can
11:36go there, and if I can do something new, then I will give you options. Because as an actor
11:43my duty is my idea. Look, I can do this, I can do this. So, what do I do? I can do this
11:50character that I have written and then I feel like this is going out. You know, you
11:56don't smile. Don't do this gesture. Because he will break this character. Like, recently
12:03we were talking about, if the character is like this, he is funny. I don't want him
12:09to look funny. You know, the element as a director, you think. So, the actor always thinks that
12:13the performance is good, but the overall picture will say that the instrument is not fit. So,
12:19from me as an actor, I can do this. And then, go as how he guides you. You have to be like
12:25clay. An actor has to be. If you are not soft, you are not pliable, then you are not. You
12:33know, you are not. You are the one who you are. You cannot become anything else. You cannot
12:36become anything else. And the work of actor is become anything else. If you are the one who
12:40is, if you are the one who is, every time you are the one who is, then what is the actor?
12:45So, that's my job as an actor. I try to do that. That's honestly, I don't think beyond that.
12:52And my next question is for you, sir. You said when you set out to make this film, you
12:59had a conscious choice that it will shrink it in terms of the production and the house.
13:03No, no, no. Shrink not just in terms of production. Production didn't shrink. For God's sake,
13:10you should say that theater. Shrink in terms of the story, the storytelling, the way of storytelling.
13:16You should say, I simply, when it comes to the casting, even Veena Jamkar. Now, you
13:23only say Jawe, sir, but Samad or Deepak Damali. Only four characters.
13:29Characters were very difficult, especially the Veena's character. If there is a tough character.
13:35And I went for insane auditions. And at the same time, I knew it was going to be very tough.
13:41I cannot have actors with tantrums. Jawe, sir, the best thing about him.
13:46Insane, like, I don't know, seriously, I don't know if there is any other actor.
13:50So, whatever happened in 22 days, and practically, it's impossible. Not even a single fight.
13:58Between me and him, not even a single fight. Unheard of. You have no idea how we made it.
14:03Because we will show it, you will actually understand what hell we went through.
14:09He had asthma. Now, the entire world where we are creating it, it has a specific ambience I am creating.
14:19Entire textures I am creating. And it smells like hell. It's a smoke. The entire film happens in a smoke.
14:26Smoke and dhul. And dhul. That's the biggest problem I have.
14:31So, I got allergies. It triggers asthma. So, that's all. But I didn't bother him with that.
14:38And the funny part is that the mask was not for that. The mask was part of the story.
14:43And it only saved him for the first 30 minutes of the film. So, yeah.
14:49You are blessed with a very good voice. You know how to make good use of your voice.
14:54You have done copywriting in the 90s. Back when TV just made its way into India.
14:58Dance you have done. You still continue to do and inspire a generation of, you know, upcoming artists.
15:04Creative production is one thing. How has the industry changed in these past 30, 40 years?
15:11Rahman sir, I have said that some of the things he has done in his interview.
15:15Some of the things he has done. Right.
15:17Some of the things he has sensed that it was not before, it was now. What is your opinion on that? How has the industry changed?
15:23No, no. Industry has changed like the world has changed. Kodak never thought that it will be shut down.
15:33Finished. Digital. AI. You know, the world is changing. Cinema, fashion changes, food changes. You know, values change for some strange reasons.
15:43Cinema, obviously, narrative changes. I just came to know recently.
15:48The attention span of Gen Z or Alpha. Six seconds. Six seconds.
15:55If they can't capture it in six seconds, the content. No, the channel heads.
16:01If you cannot capture it in six seconds, it's gone. Finished. So, this is how we are changing. It's how rapidly we are changing.
16:11So, it's how we are changing. So, it's the main thing. It's the main thing. So, if there has been the future of the TV, the movie.
16:18So, it only means that we must see. We must see. We don't have one story, the movie because of the various platforms.
16:23So, that's why we are changing. The list can be the same.
16:257 hours, 8 hours, 6 hours
16:27you can do one story
16:29narrative. In the film, you get 1,5 hours,
16:312,5 hours. So,
16:33there are choices. Actors, writers,
16:35directors, obviously, there are platforms.
16:37But at the same time, business
16:39has become numbers.
16:42Most of the time. Not all the time.
16:44It's not here because
16:45he could have gone numbers but he didn't.
16:47But it has become, what are the numbers?
16:50What returns have been?
16:51You're making a project.
16:54Not a film.
16:56I don't know how artistic integrity is suffering.
16:58Sometimes. Quite often.
17:00Don't do it. Don't do it. Don't do it.
17:02Don't say it. Don't say it. Don't say it.
17:04So, a lot of these things are being used.
17:06And today, films, of course, there is a
17:08huge influence. So, they
17:09negatively use it.
17:12And sometimes positively. Positively,
17:14nowadays, negatively use it.
17:16But, you know, we won't go into that.
17:18But, like I'm saying, that
17:19genuine filmmakers, who want to say stories,
17:22who don't have any other objective,
17:23that is the objective, that's a good film maker.
17:27He is one of those.
17:27That is the objective. That's a good film maker.
17:31He is one of those.
17:31That's a good film maker.
17:35That's a good film maker.
17:38That's a good film maker.
17:41That's a good film maker.
17:45That's a good film maker.
17:48That's a good film maker.
17:51But, I'm just saying, the thought being that
17:55that, that's a good film maker is not so good.
17:58Intensity, characters, like you say, character-driven.
18:01Like, there's also production.
18:05Location, sets, other characters.
18:33So, you know, effects.
18:35So, it's a very raw film.
18:38And your question was,
18:39industry, there's the changes, yes.
18:41The business element.
18:42So, I think somewhere creatively,
18:44we need more cinemas in Hindustan, I think.
18:46It's very important.
18:47China, about...
18:48व्यां के और अर्सक्नेण, हमारेश को एक जुड़ा है
18:52वहाद है यह जगाए ह्या है,
18:57जूपी एक जगाा पर आके सकड़ना है, जूपीन बहुत है हमारे पास.
18:59लोगों वाँ और नहीं रहना है, लोगो यहीं रहना है.
19:02The point is China, I am giving example that there are 2,000,000 or 2,000,000 screens.
19:10We have 15,000 screens.
19:12So how?
19:13If you have a good film, you don't have a screen.
19:16You have an option to see if you have one, if you have 25,000, I think we should focus more.
19:22Because our cinema is going on.
19:24We love cinema.
19:25But there is no option.
19:27For example, if I don't want to see Maya Sabha, I have to go to Bhandoop.
19:30Where will I go?
19:31I don't want to go to Bhandoop.
19:33The option of good cinema should be available.
19:36I think that's what I think today is the need of the hour for good cinema to survive.
19:41And quickly, last two questions.
19:43First is for you, sir.
19:45You have a very nurturing side as a human being, as an artist as well.
19:52You have something for dance.
19:54With Boogie Woogie, you gave a platform to numerous talents.
19:57An entire generation, two, three generations.
19:59I want to tap into this aspect of yours.
20:02When you do some artistic work, what mindset, how do you approach it?
20:07What are the entry and exit points that you frame in your mind?
20:12Very simple.
20:13Boogie Woogie, we had to see Hindustan too.
20:18It's our duty.
20:20We have to see talent.
20:22But by the way, I saw Hindustan as a whole.
20:25Hindustan is what it is.
20:27Families, thought processes,
20:30غریبی, Amiri.
20:31They are all those platforms.
20:33Work.
20:34You know.
20:35Takishis Castle.
20:37It's only sound.
20:38But the child is enjoying it.
20:40I'm enjoying it.
20:41No, I'm also enjoying it.
20:43So I did it.
20:44It was not a lot of money.
20:45It was a lot of money.
20:46But what?
20:47Because.
20:48So,
20:49you know,
20:51that's how we get it for artistic satisfaction.
20:52Some things are happening.
20:53You know?
20:54So,
20:55when you are at that point,
20:56look,
20:57if you have so much
20:58that you don't have to play the game,
20:59then you don't have to do this.
21:00Sometimes you have to do it.
21:01Sometimes you have to do it.
21:02Sometimes you have to do it.
21:03n'ti kena kubhi kubhi kubhi karna pardta hai ke ghar chalana hai baas abhi ye thi ki
21:07haa kabhi kubhi artist hai kabhi tum baara sori mai sabha nahi hai low budget hai nahi
21:13hai budget but yara satisfaction hai nahi yara acha kama kama hai acha log kisat kama
21:18kama so you think of manid hai you know ah to ye balance rukke chalna pardta hai
21:23hum jaysse loggon ke liye jahaan ek log pohunc gaya hai us level pey kaya bhai himko
21:28So I think that's important.
21:38That's how I approach life.
21:40You know, that's it.
21:41You know, that's it.
21:43You know, that's it.
21:44And for my last question, Rai sir.
21:46How do you look at this phenomenon, this practice in the industry?
22:16I think, I know what you're talking about.
22:24I think people should work.
22:34They should let their work speak.
22:38And the way industry is going, no matter what I say, it's not going to change it.
22:46One thing I learned long back, that I am going to meet certain people and they are always
22:51going to win.
22:52No matter how much, whatever I do, they just change names and names.
22:56Even in the past, even in the future, these people will be there.
22:59And not just in our industry, everywhere in the world, these people are.
23:02Now, let's do it.
23:03Let's do it.
23:04Let's do it.
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