But then those who have followed Das’s 12-year-old career closely, will probably recognize the spunk that distinguishes her from other actors of her generation. The same spunk that made her approach an unconventional subject like Firaaq (which talks about the aftermath of violence) with such gusto. She discuses her film and her career with Talk.
Tell us about your directorial debut Firaaq.
The film was a cathartic experience. As a generation we are numb to violence around us. Firaaq is an attempt to understand that. Through five different stories, it explores the horrific carnage at Gujarat.
What kind of problems did you face during the making of the film?
The biggest problem was with the attitudes. People are so used to mediocrity that any attempt at perfection is scoffed at. While I was trying to approach the film with as much sincerity as possible, people thought I was being a pain. (Laughs).
Was it difficult directing an ensemble cast which included names like Naseeruddin Shah and Paresh Rawal?
As a director one has to be a parent to one’s cast. I had a tough time negotiating the dates of these stars, but it was a learning experience. I have realised that there is no rulebook for filmmaking, and on a given day anything can go wrong.
Firaaq seems to be an issue-based film like many of your earlier films…
People ask me why I play victims when I have had a privileged upbringing. But then shouldn’t that be a reason for us to ask pertinent questions that really make a difference?
You reunite with Shabana Azmi and Deepa Mehta for the adaptation of Salman Rushdie’s Midnight’s Children. That is a big project...
Yes, but it is too early to talk about it. Deepa will make another film before this. But yes, Midnight’s Children is a brilliant novel, and Padma, the character I am supposed to play, was an interesting character. Both Rushdie and Deepa are working on the script together, so that’s definitely interesting.
