Exploring unconventional themes

Omung Kumar started his journey in cinema as an art director on projects like Black and Saawariya, but later turned into a director with blockbuster movie Mary Kom. To further popularise the concept of biopics in the industry, he made another film on Sarabjit Singh, an Indian man who died in a Pakistani prison while his sister fought to get him released.

The National Award-winning filmmaker, who is perceived as a very serious person in real life, will now be seen showcasing his whacky and fun side during the show 'India's Best Dramebaaz'. In a free-wheeling conversation with Millennium Post, the director reveals the secret behind the success of his movies, his passion for filmmaking, and a lot more…

Here are few excerpts:

All three films of yours – Sarabjit, Mary Kom and Bhoomi –were commercially or critically successful. How do you make your movie stand out in this crazy film biz?

I am a movie buff and need to watch a film every single day. I know every genre possible and every movie possible. In fact, I can predict what's going to happen next. But when the director surprises me by presenting something that I didn't expect, it's then when I start liking the movie. Likewise, I desire to break the clutter. Everything in my movies need to stand out. Every scene should have a proper start, a high point, and an end. For example, the last scene in the movie 'Sarabjit'– where Aishwarya comes with a box that has 22 years of a man's life and hands it over to Richa Chadha – required a different level of dedication. The movie buffs should watch this film just to see the background. A house has lived for 22 years. Paint on every wall has peeled off. There is nothing left.

We all (including the camera person) were hiding behind the black cloth so as to avoid any kind of eye contact with Richa. Aishwarya came in, gave the box and went off. Now, taking out everything (Sarabjit's letters, the shoes, the comb) while getting the emotions right is what makes Sarabjit special. Trust me, throughout the scene, everybody on the set was crying but I didn't say cut because I was so sure that something interesting would come out.

Now, my next film is based on Yubi Lukpi – a very unfamiliar term, isn't it? The idea was to find a story about a sport that is not much talked about. It is interesting that the game is the mother of rugby, But we hardly know about it. And that's the reason why people would come to see what this new game is all about. Believe me, all my ideas are crazy.

One reason behind casting Aishwarya or Priyanka in your movies was that they were known faces. In this era when content driven movies are doing so well, do you believe that star power still works?

Somewhere true, somewhere not true. If big money is involved, you need a popular face. I can still make a film with a newcomer, but for that, I have to become big. Content to hai but kiski film hai ye be matter krta hai. You need a name to attract the people.

Otherwise, you make a small budget film. As it surpasses the budget, it will become a hit. But in that case, you won't be able to tell bigger stories which are worth telling. When Mary Kom was released, I was a newcomer. And that's why I wanted a popular actor to hold my hand and take it forward. Secondly, it was a biopic as well as a female-oriented film which were not very acceptable at that point in time. Even if Priyanka was in the lead, success wasn't assured.

Hence, content-driven films will work but if that film involves a lot of money, you need a star to make it work.

What is the role of cinema in today's time. Should it be seen as a medium to educate people or just entertain them. Do you think a movie should necessarily give out an inspirational message?

There are people who are fed up with their normal life and wants to go to the theatre to get entertained. They don't worry about the content. They want to leave their sorrows for a while and watch something fun. But at the same time, there are people who wish to watch real movies, they will go for real stories which will make sense to them. And we as filmmakers need to cater to the demands of both the sections.

As far as necessarily giving a message through a film is concerned, I think it cannot be planned. I thought I was making a film on Mary Kom which would inspire women. Instead, children got inspired. Though females got messages like 'husband should be supportive', 'life doesn't end after marriage' etc and we had a slight idea about it, but kids getting inspired wasn't planned.

But that doesn't mean I only want to make inspirational movies. If given a chance to make slapsticks which I can laugh at, I won't mind. I would love to make a movie like a Hangover. It should have a story and logic. I don't want to regret making a stupid movie later.

You have covered a long journey from being an anchor in a Television show to judging one such reality show. Having known this industry so well, do you think it has lost its charm?

Firstly, a new medium (Internet) has come on board and people have something to compare with. When there was no comparison, you didn't know how boring your life was. But here, the world is the market and you are shown unbelievable stuff from around the world.

Secondly, a section of people wanted to see different things but there was no medium. Now, you are sitting in a lift or a car and watching quality content. So yes, if the TV industry doesn't pull up the socks, they will be left behind. There is a lot of competition.

Though from the saas-bahus, they have changed a bit. For example, with the popularity of biopics in our film industry, realism came in and the storytelling pattern changed quite a lot. Seeing this revolution, the television changed as well. We have bahus who are IPS officers.

Having said that, I can see there are people who wish to stick to the convention and make shows that the audience from rural areas appreciates. That's the reason we still see daily soaps like 'Naagin' doing well.

Hopefully, with time things will change. People are readily investing money which in turn would raise the standards of the television industry.

How would you measure a film's success. And how important is the box office as well as critical success to you?

Let me tell you, every movie makes money before it's release. Wo Kabhi flop nahi hoti. Aap amazon pe bechoge ya Television pe bechoge, paisa aa hi jaata hai. That is the smart way of making money.

But apart from that, the money that you actually make through the business a particular film does is what matters. People who tag movies as blockbusters as soon as crosses the mark of 50 crores are fooling you. So what is box office we don't know.

Next, I really don't pay attention to critical acclaims. Hum ek saal ke liye kaam karenge, and wo teen ghante me aakr reasukt suna denge. You also would do it, and so would I. What matters is the audience's response.

The reason is, when you are working in/for a movie, you are very close to it and everything seems nice. Ones you step out and comeback to see it, you will notice hundreds of flaws.

So, if I have the touched the audience in a real way, that is the success for me. But...But...everybody wants their movie to be a super-hit (Laughs), because your next movie depends on that. So, I can't say that box office collection doesn't matter at all.