On Friday, renowned actor Aamir Khan emphasized that Bollywood should prioritize scripts with universal and engaging themes over focusing solely on genre and casting. His remarks came during a discussion moderated by Newsstate24 at the WAVES Summit in Mumbai.
Khan participated in a panel titled ‘Indian Cinema, Oriental Outlook,’ alongside Indian filmmaker Prasad Shetty and prominent Chinese directors Stanley Tong and Peter Ho-sun Chan. The conversation revolved around potential collaborations between the Indian and Chinese film industries.
Khan pointed out that the success of Indian films among Chinese audiences relies heavily on the emotional connection and resonance they establish with the viewers. He stated, “When we approach a story creatively, we shouldn’t limit ourselves by considering which market we are targeting.”
He criticized the tendency in the Hindi film industry to pre-determine genres and cast actors specifically to cater to certain markets. Instead, Khan advocated for a focus on the script as the foundation of the film, rather than treating it as an afterthought.
Expressing his reservations about the conventional approach to filmmaking, Khan said, “There’s no right or wrong in the creative field, but I’m cautious about following that path.” He emphasized that the story and script should be the primary elements that inspire creativity, and these narratives should incorporate themes that resonate with both Indian and Chinese cultures.
Prasad Shetty echoed Khan’s sentiments, highlighting the commonalities between Indian and Chinese cultures, including shared values and emotional experiences. He remarked, “Human emotions, family dynamics, and the aspirations parents have for their children are not vastly different.”
Shetty recounted an experience watching the Aamir Khan film ‘PK’ with subtitles, where his Chinese assistant reacted emotionally to the same scenes he did, illustrating the universal nature of storytelling beyond language barriers. He concluded that filmmakers should focus on crafting authentic stories rather than trying to tailor films to specific markets.
Ho-sun Chan cautioned against the pursuit of mass appeal through the inclusion of popular actors from other countries. He advocated for localized storytelling, asserting that the essence of a story should resonate deeply with both the filmmaker and the audience. “It can be as local as possible. I firmly believe that local is global, as we are all human beings,” Chan stated.
He also suggested the formation of a collective among Asian filmmakers to negotiate distribution channels, which are often dominated by Hollywood. Stanley Tong shared similar views, recalling his experience with the 1995 film ‘Rumble In The Bronx,’ where international distribution costs were disproportionately high compared to the film’s budget. Tong called for better collaboration between distributors to enhance the reach of films from both countries.
In conclusion, the discussions at the WAVES Summit highlighted the importance of storytelling that bridges cultural divides, fostering collaboration and understanding between Indian and Chinese cinema.
