'It's good karma at Dharma'

Try to work within a budget
I'm a producer exactly like my father was; indulgent. In fact, I get fired and screamed at by my CEO on a daily basis. He says, 'You're far too kind, far too giving. You have to understand that we're never going to make any more money. People think we have loads in the bank, thanks to you and your overindulgence. You pay people too much. This is a small-budget film and look what you're doing. Why don't you leverage your brand value?' My father never screamed at me as much as he does!

I don't know, I just feel bad. Put me in a room to negotiate money and there's no way I'm going to get the best price. I just feel so awkward that I pay more than required.

All my directors are like babies to me Tarun (Mansukhani), Ayan (Mukerji), Puneet (Malhotra) and Siddharth (Malhotra). Barring Rensil (D'Silva, director of Kurbaan), who's had years in advertising, the rest of them have grown up in front of me and babies come with demands! If they want a more expensive set or location, you give in. Then my CEO shouts, 'Don't tell me you want to buy a house now, because we don't have any money!' (laughs)

We have meetings on going over the budget all the time and it's all about me. Even in a coming-of-age film like Wake Up Sid set in the suburbs of Mumbai, we've gone over budget.u00a0

Pamper your actors
I just like to have a happy atmosphere on the sets. I like the vibe. It's a Punjabi hospitality tradition. My father told me: Irrespective of the commercial outcome of your film, the biggest failure you would have is if a unit member complained about how you treated them.

That's the legacy I live by. It's good karma at Dharma. We believe that accumulating that energy will make us special in the long run. I think we know that almost better than we do about making movies.

It's the personal touch; it takes very little to make people happy. Concern and care doesn't come with a cost.

The one thing you have to do is kill your ego time and again. Don't think about your position and take advantage of that.u00a0

Give advice to your directors
Wake Up Sid director Ayan may be young in years, but he's an old soul. He's more evolved than his years. Ayan is always asking he's a seeker of information. He has 200 questions.

I've been told that the way he is with actors is pretty close to what I am. I think he's a people's person like me.
His interactions with his crew are healthy, positive and friendly; he sends warm text messages. That's why when he makes a film in the relationship zone, he has a great understanding of it.

Give honest feedback
When I watch an edit of one of my productions, I'm very honest. I never mince my words with the people I work with. Like it or not, I'm not going to sugarcoat my feedback to be polite when our a**** are on the line.

If I don't like something, I say it and it's up to them to alter it. If I feel vehemently about something, I put my foot down, but fortunately, it hasn't ever come to that.

My father, though, never gave me any creative input. He was a superb human being and producer, but he didn't have a creative streak. He always trusted and respected my instinct on things. If I directed a moment, a scene, a song, it was the best thing in the world for him.u00a0

Think like a cine-goer
I think like a director for myself, but as a producer, I think like a cine-goer. I can make that switch quite easily.

I become a cine-goer when I watch my directors' films. I'm a Gemini; I can do two things and be two people at the same time. It helps me as a producer; I look at their films as an audience. I'm an easy-to-please but sensible audience. I'm not demanding. That doesn't mean you take my sensibilities for granted. I don't interfere.
u00a0
I don't think, 'I would have directed this like this' because if I'm producing a film, it's because I can't direct it myself. Those are the films I want to produce.

Don't drop in on your director's set
I don't drop in. I go as a visitor, a friend, a support system sometimes, but that's rare. I never go more than required. I flit in and out. On Wake Up Sid's sets, I've been once. I wished the cast and crew and then left. For Dostana, I didn't even go once. I was in Miami during the entire schedule, but didn't go on the sets once. You should only worry about the film at its scripting stage, not when filming. You only confuse people when you go on set. Actors tend to look at you after a take and it's not fair to the director. It's their vision.u00a0

Don't like a star? Get over it
I've worked with actors and technicians I don't care for too much on a personal level. That's totally okay.

I don't believe we should make that divide in our heads. If you're creative and talented, I'm not your mother to judge you as a human being! If you're good for the part, please come on board and do what you have to. I'm no one to judge you on a human level. There are a lot of people I don't like that I would work with.

It's all in the family
Yes, Ayan is Kajol's cousin and Puneet is Manish's (Malhotra) nephew. It's a bit incestuous and all in the family, but that's how we like it in this industry! Everyone is really related to everyone. It's difficult to run away from film relationships.

The fact that Ayan is related to people I'm close to is just a coincidence. The fact that Puneet worked with me because of Manish is not a coincidence. But if he didn't have the talent and craft, I wouldn't have worked with him. I called him and told him to write and direct this.

It's not awkward to work like this; it's a lot of fun. There is internal politics and one-room-to-another gossip, but I love it. I love having my spies snoop around. It's like a magazine or tabloid newspaper office. Only thing is that we make movies for a living!u00a0u00a0

"Exciting news! Mid-day is now on WhatsApp Channels Subscribe today by clicking the link and stay updated with the latest news!" Click here!