 Mae'r rhan o gweithio. Mae'n gweithio i'n meddwl i'ch gweithio gwybod ddweud, ddweud ddweud wedi'u gwneud yma yng Nghymru, a ddweud o'r collegau ar hyn yn Phewyr, Suna a Mike, fel yna'r unig o'r ffawr i'r parwyr hyd i'r Fawr Sounir Aesir. A'r unig o'r Suna i'r Unedig Ymparwydd ar y Gweithio Llywodraeth, fydd yn gwybod i fynd i'r event hefyd o'r Phewyr, Mae'n cael ei wneud yn ysgrifennu'r gweithio. Mae'n cael y gallwn lleolion sy'n gofynu am eu lleolion, ac mae'n gweithio'r ysgrifennu cofnigol. Mae'n gweithio'r leolion yn fwyaf o'r leolion ymlaen. Mae'n gweithio ymlaen ein lleolion, mae'r leolion yn gweithio'r camffordd â'r ffilm. Mae hyn yn gwneud i'r ddiweddig i ddweud iddyn nhw i ddim yn ei wneud i ddweud i'r ddweud i ddweud i ddweud i ddweud i ddweud. O'r gynllunio'r tawg yw'r hanfodol i'r BA ac Mae Cawthwyr yn ein cynllun i'r Llywodraeth Cymru, felly, o'ch chi'n mynd i'r Llywodraeth, yn ymgyrch. Felly, dda i'n gofyn i chi gweithio'r cyhoedau y cwmiannig o ffynigol sy'n gyntaf bod i fod yn enynt i'r canllun i'r canllun i'r Llywodraeth? Hele. Hele. Mae'n dechrau i gael'r gweithio'r gweithio. Rwy'n meddwl bod gynnig o'r fath o'r fath o'r hollwyr hwnnw yng Nghymru, mae'r hollwyr yn gyrdu a cofnodd yng Nghymru yw'r fath o'r hollwyr hwnnw, galla fydd yn gyrdu yn fath o'r hollwyr hwnnw. A'n rhan oedd, boi'r byddwch chi'n gyrtu yw'n ddiad, oherwydd ar ni'n gydag hynny, yn bryd yn bryd yn bryd. Rwy'n meddwl chi'n bryd ar y fath o'r fath o'r hollwyr hwnnw, gyda thun o'r hyn sydd yn holl fwrdd Cymru, is that correct? Yes and no Rachel, because it started with Parinda. Actually started, it's a very funny story, me and Abhijad Joshi, my co-writer. We were travelling from Boston to New York, and the E Declar with the Royal Guard had some great reviews. yw'r Gweithio Gwyrd, ym Mwyfyrwyr, i gychwyn y Llyfrgell David Leann, a ym Ym Mwych, yw'r Clasic. Dyna ddigonion i'r Gweithio Gwyrd yma yn gyfrannu Llyfrgell U yw'r Gwyrd. Felly byddwn i'r Bwyswyr, ac mae'r ddweud o'n gweithio'r diwpeth, o'r martyn sydd yn arbennig ym Mwyfyrwyr, a mae'r ddweud o'r bollwyr, mae'r ddweud o'n gweithio'r diwpeth gyd yn fwy o'r ddweud o'r original ond y dyma am educated film. I said but the Americans are just loving this movie but the original film is better and as I went came back with another bottle of beer Abhijat looked at me and said Parinda. We should do Parinda. So it really started like that but it took us 4 years to write it and finally the film is something it was inspired, that was the beginning but it's not a remake it's actually a original script that took us 4 years to write The draft I shot I think was the 64th draft, so it was written like 63 times over. So it's different but yet it's the same. I'm very interested in these ways because we talk about how the cinemas are different because one of the things that really annoys me is when you say you work on Indian cinema it's often seen that Indian cinema is in some way deficient because it's different from Hollywood. I was wondering about when you were making a Hollywood movie were there things that you thought about particularly that you would have to avoid or that you would have to develop or how did you do it? I mean it's partly isn't it the idea that India is more aware of the rest of the world sometimes than the rest of the world is aware about India so you were probably quite familiar with Hollywood. You know somebody said that somebody who saw the film in LA one of the critics said it's like Quentin Tarantino going to India and doing a song and dance film it's that different and see the point is that Hollywood has prejudices and not only Hollywood I think the best has a certain way they look at Bollywood and that was one of the reasons that I did this Hollywood film because I wanted to say in the movie and I'm saying that to all of you who would hopefully see the film that we can do it. We don't do it because our people we communicate with our people in a certain way and you know when I fell in love first time in Kashmir I sang a song. You know we die and we sing songs we kids are born and we sing songs that's how we are. Actually I said that and I'm amazed you say that I said it in Birmingham I was here a long time back I think it was with Parinda only or maybe 1942 a love story and there was a critic I won't name him. We had just seen Godfather 2 and I looked at them and I said I just saw this movie and it's a terrible film and everybody was caught I said nobody was singing you know nobody sang a song. All of them very serious dark dull boring people. It's a different see when I make a Hindi movie whether it's PK 3DS Parinita 1942 and it's I want to reach out to my people I want to communicate so I speak their language. It's like if I'm sitting here I'm speaking English because everybody understands English. I'm not speaking German or Sanskrit or Urdu or Kashmiri that I can speak in. If I spoke the same thing in Kashmiri nobody will understand. So I think the responsibility of the filmmaker is to communicate and we communicate in a certain way in India and that is why we make those films which doesn't mean we can't do broken horses. We can we choose not to and that was a thing that that drove me to make broken horses and when James Cameron talked about it Alfonso Curon saw it and London talked about it and a lot of others who haven't put their name but have raved about it. I knew that that yes it's done. It's this is when you will see when I saw the film the only thing Indian about the film is the spelling in my name. There's nothing else and there is no Indian crew. There's Tom Stern was my DOP. I just saw me just shot American Sniper. He's Clint Eastwood's cameraman. He's one of the best in the world. They were we were like brothers making the film. So he wasn't. Yeah another thing which is interesting and this will further answer your query in a way that it took three days. And on day three I told Abhijat I said this is a Michael Corleone moment now watch it and Steve was dancing was head of the unions teamsters. So on day one I asked him for a black car and he said Mr Chopra that's going to be very difficult. I said okay Steve try anyway. He was very short and he watched me making the movie. Next day he came to me and he says Mr Chopra I'll try. I'll try and do this. Day three he came with a cup of coffee and said you must be tired. Have coffee you know. And I said what about the car. He says I got six black cars for you to choose. You choose. So it was really took three days for that prejudice to break for them to start looking at not some Bollywood guys come to Hollywood making a movie. It took them three days. It took him three days to figure out this guy knows his job. And after that it was just so smooth and the crew actually at the end of it gifted me a book which every time I tell them to bring and they don't it's in my hotel room. It's a great book and they all said wonderful things. So that's it. There are prejudices but we break them. That's what broken horses is all about I think. And are you going to release it as well in India? Yes releasing worldwide on 10th of April. In English dubbed in Hindi? No. It's an English film. It's not a Hindi film. It won't be dubbed in Hindi film. It's not. It's a point I'm making and the point would be lost if I dubbed it in Hindi. Though I will make more money but I won't do it. That's quite a sort of shocking thing I think there really. I mean the idea that you know you actually go and I mean there have been English language movies made in India before but not a Hollywood movie made by an Indian. I think this is where the real difference is taking place. But in a way I mean why you did it when you were so successful in Indian movies. You know it's you went and did it on the back of your success. Well the only thing that comes to my mind is I must be crazy. I have to be crazy because after three idiots I should have made four idiots. Logically you know and made tons of money and then probably make five idiots. Who knows like seven fast and furious seven. Yeah I you know I have never. Can you just dim that light or just it's really hurting me that I'll have to wear dark glasses. Yeah thank you. See the I think you know I have what it's very strange that whenever I made a film whether it's the PK Munabhai three whatever I have made a movie I have believed in. And it's become successful like you know as you know it's the biggest hit of all time. But when we were making any one of these films including Munabhai the idea was not to make a hit film. Actually I was pleasantly reminded when that lady sang some songs from my movies. Suddenly I sat there and I've forgotten all these films and all this music I've created. Because I'm so involved in broken horses and suddenly it seemed to me what a long journey it has been Rachel. And what a long journey it is from boomerow to broken horses. It's amazing and it's also actually you have to be mad to be able to do boomerow and broken horses. I think you have to be crazy. But it's one of those things when you try I mean if you try to look at your career and see a path through it I mean it's very complicated. I mean you come from Kashmir you studied at the FTII in Pune and then you make I mean Perinda was really I mean the film that people think of when they think of the cop movie from Bombay. I mean the film with its application of the city and the way it's edited. And you know I think that shoot out round the roundabout is one of those classic moments everybody remembers from the film. And then you move you move from there over to something completely different. I mean you've made historical films you've made epic. I mean you're always on the epic scale aren't you. I've always I believe I think you know I've never followed the path that that is there for you to follow. I think I've always wondered here and there and done things that that excite me whether it's 42 which you know which was very different from Perinda. And then Moonabhai MBBS that time there was no comedy and that's the first comedy I actually wrote with Raju and I don't know. I don't know why I do this but I think it's because of my lack of education maybe and I said I didn't get a BA or MA or I was not fortunate enough to come to institutions like this. So because I went to DAV school and that's it and then I'm BA fail actually. So I'm all over the place I can just do anything. I'm not I'm not I don't think I'm like this is it. But your films always raise big questions. I mean they're things that academics find particularly fascinating. I mean a Clavier I know colleagues have found that the way that it takes. I mean a Clavier of course the name is very evocative immediately. Or you've taken 1942 or I mean these are film set in the past and it's a way you're looking at them. Is this a sort of popular way of looking at the past or is it your obsession with history? You know I I because I grew up in a small village in Kashmir and I was like my I learned my ABC when I was 16 years old really and my whole education and not literacy but my father was was a very honest man very poor man and he actually just constantly quoted Ghalib and Khalil Gibran who I was reminded because when I read the name Khalil. So my whole my childhood was really full of you know Ghalib and Gibran. So I don't know I think somewhere in my head I am still living here but there's a lot of past in me. There's a lot of it's very difficult to figure out why you do what you do. Actually it's probably somebody else who's an expert in this field can say okay why is this man done what he's doing. It's very very difficult for me to tell you but the only thing is whatever I've done whether it's 1942 or whether it's broken horses. I've done it because I believe that was the right thing to do at that time. 42 I did because at that time the Hindi film music if you study had become terrible. It was all these songs of Khatkaile Sarkiya you know I remember and I hated it and I was very angry because I used to sing Hindi film songs when like I said I fell in love and I still remember in Kashmir I sang an old song saying. So I was very angry. So I created a when you see ladki ko decah to aisa laga you I heard it after a lot of days. There's hardly any music. There's no strings and there's just one ting-tongue. There's nothing but it's melody. So for me 1942 a love story was really because and let me tell you something which is like it's an interesting thing for students. I think it's interesting to know. Ardi Berman was going through a very difficult time. So when we made 42 he was not hired by actually nobody wanted to work with him. So I went to him with kuch na ko. I had done parinda with him and he made the first tune of kuch na ko which was which went like and people who know Hindi film music will know this. It went kuch na ko ko kuch abhi na ko ko kya kahna. And I'm sitting there and I said and I'm I'm I speak my mind openly and clearly as you will notice this evening. So so Ardi Berman asked me kaisa laga and normally I I immediately say so I said he was going through a bad time of musicians. I didn't want to tell him it's bad so I said dad I'll think about it. He said nahi par abhi kaisa laga. So I thought I'll gently break the news to him. So I said dad I said na chhani. And then I went on saying actually it's shit. And then I went on and I said you know it's bullshit. So he's looking at me and right on where he was sitting there was an SD Berman photograph. So I looked at SD Berman I said actually I'm looking for him but he's dead. And you're the best. And you're giving me this crap. He said you don't understand that music doesn't sell anymore. I said that's my problem. It doesn't sell I'm dead but I can't have this. He said give me one week. I went the next week and there was nobody there Michael nobody in that whole room. I thought he's not going to do the film. So he came to me and said it's difficult give me another week. I went a week later and if you recall that song. He started with a tune of SD Berman. It goes. And when he sang that I raised my hand. He looked at me. He said the song has not started yet. And I said if this is the first note. This is perfect. The song will not go anywhere. And that's exactly what happened with that. So there's actually a flute that plays this note. And then it goes to. So that is how the music was created. That even my people who were working with me like R.D. Berman. Wanted to create the same khatia music which I was fighting. So it's you know because they thought that's what sells. So this whole idea of what sells. I reacted. Broken horses. Did I make it because I'll do a hundred million dollars? No. It might. But did I do it? No. Why did I make it? Because it made me very very angry. That when I saw the prejudice people have towards our cinema. It has annoyed me. And this is my answer to them. So I'm like a kid who gets angry. And I think I'm corrected because I think I thought that the tune there in Cwchna Cahor is An Milo, An Milo, Shyam Savare. Well you know in every tune you might scholars you have studied and you might say oh this dialogue actually was in that movie. I don't know. Why did you get me onto Munabai? How do I know? Maybe but not really. But again I mean that and again I mean very sadly I mean but wonderful that R.D. Berman left this world with that great film. So the younger generation knew him. But the sad thing was he died before the musical. I regret that always. He just died. But he heard the music which was amazing. We threw a party for him and he heard it with a thousand people. But I wish he had lived. See this is what I say when people say what sells. Now R.D. had no idea that he had created 42. And people who had forsaken him now will name them. It's very easy to figure out. Actually owned him after his death. Because of 1942. And suddenly there was R.D. Berman back. Otherwise he would have died and nobody would have. So the point is that's why when people say about anything I always say that the idea is to create and leave it behind. I mean of the little study I did I was a great fan of Van Gogh the painter. And I always thought that this guy could not even sell a single painting. So really the world when he existed told him you're an asshole. You can't paint. But he went on painting and look at where he is. And I think therefore personally right from Parinda to all these films that I've done including Broken Horses I am kind of beyond criticism of critics telling me is it good is bad. Because I don't care. I'm creating what I genuinely believe is me and I'm leaving it behind. And hopefully now or sometime people will like it. I'm hoping they will because I love it. One of the things that's very striking in your work is the people you've worked with. That sometimes they've been people like R.D. Berman who seem to have been at the end of their career. But they've also been people you've helped at the beginning of their career. I mean working with him and R.D. Berman together at times. Sanjay was a kid. He was not somebody that I listened to seriously. He was learning. He was one of the kids who was learning. But he was a very bright kid. Actually every time you mention that I have to tell you this is one regret I have. You know there's a show called X Factor that came to India. And these guys came to me. And I said I'll take what Amitabh Bachchan charges. Two crore per show and all that. So there were 43 shows and you know my God. They came and said almost yes to me. And I didn't want to do it. And then I asked them why are you giving me so much money? And they started with from Sanjay Bansali to Raju Hirani to well they had 17 years to Vidya Balan to Baman Hirani to Nana Patekar. And they said this is what you've done. And that's when I realized that I could actually cash it. But I didn't want to do TV. So of course I said no. And finally I apologized. I said I asked for this money only because I thought you'd say no. But now that you're saying yes I have to say no. And then I flew for broken horses saying no to all that money. I'm trying to raise money in US. And Michael Linton who's CEO of Sony which was the television channel that was doing it looked at me and said you said no to so many million dollars because he calculated dollars. I said Michael if somebody told me it's dollars which I could do broken horses. I would have said yes. I just thought it's Indian crores. And I said no. So that's who I have been. I mean when you mentioned Sanjay Bansali there are many others who. I didn't do it to do it. My idea was not to mentor. My idea was to to pass on. See the village I come from I learned from my father. It was a verbal. It's what called the Guru Shish Parampara verbally we can weigh. Okay this is who I am. I have no books. I have written nothing but I want to pass on to you. My knowledge my experience of life. So I think it is that that I tried to pass on to all the people who've come to work with me and that's become a kind of I can cash on it. I hope the X factor guys come back to India. This time I'll do it. I mean you also obviously have an eye. I mean Sanjay Dutt was somebody who I mean when you took him on in Mission Kashmir and so on. I mean people didn't really I think at that point take Sanjay Dutt so seriously and then you put him in Munabhai where you can actually see the man's a genius. I mean I can't imagine anybody else ever playing Munabhai and that's the idea as well you know seeing people and bringing them in and so you obviously have this way of understanding the creativity but you've also got the business sense and how much do these two come into conflict? I mean you're saying you don't care but you have been remarkably successful financially for someone who doesn't care. Yes, let me answer that. Now Munabhai Shahrukh Khan was to do. I would have made tons of money. Okay this is my business sense. Hell of a lot of money. One day I met Sanjay Dutt. I looked at him and I said to Raju in that time Shahrukh was saying you know everybody knows Shahrukh he's a good guy but you know he said I'm going I'll do this. I told Raju I said this guy is actually Munabhai. He's Munabhai. And Sanjay Dutt was supposed to do a small role in that film with Jimmy Shergilded and now why I'm telling you this it's very interesting for you to know about my business sense. I will tell you this. When Sanjay Dutt went to jail right in the beginning the whole industry bike ordered him. I did know Sanjay, I did not know him. I went and announced a film with him and the reason I did it was unless proved guilty in court of law you're innocent. So I was banned. Okay Sanjay Dutt comes out of the jail and says to me first time I met him and says when do we start the movie? I said never. He said but you were not asked it. I said no it was just a stand I was taking. That stayed with him. So when I told him that you're playing Munabhai he thought it's that small role I'm talking about. He said anything you tell me I will do and he was not a star. He was not a big star. I said no you're playing the main lead. And when we released Munabhai on the day of release theatres were totally empty. On first show theatres were empty and Raju Hirani who had made the film was very unhappy I called him. I gave him some money. I said it's not about this film make one more because we still have money in the bank. And that is my business sense. It's crazy. The fact that I'm successful is a miracle. You know? It's a miracle. In retrospect people say wow. Super broken horses runs it does 100 million. People can say no so what but I did it because I believe in it. And a lot of Bombay film I've never talked because I hardly go out I hardly talk. But this should be conveyed to a lot of people in Bombay because they all think this guy has a great business sense. I have done what I believed in. So why the break until broken horses? Were you planning broken horses for a very long time? From directing break from directing. Yeah, yeah. It would be five years to write a great film. After Iklavya the Royal Guard. See Iklavya the Royal Guard opened the gates for me in the west. Everybody who saw the film. It was Oscar nominated. So it was like my first agent Jeff Berg who was the ICM chairman. I got a call. I got a letter in India saying I represent people like Barnardo, Bertolucci, Roman Polanski. I'd like to represent you. I thought it was a joke. I thought somebody was fooling me. So I said is this guy real? Jeff Berg he was real. And so because he saw Iklavya. So really speaking that movie is what led me to do broken horses. All the actors who worked with me. Nicholas Cage who I met in London had seen the film. So actually he said I cried six times in Royal Guard. It's such a great film. So I said what were you smoking? I want to give it with every DVD the same. So yeah so that opened doors for me. But again Iklavya the Royal Guard was not a good business sense movie. It's a movie I believed in. I believe that in our culture there's subservience. And that's why when you went it should not be. You should be able to question your guru. And that is why I made that film. And in a Iklavya like Perinda again these sort of moments of cinematography that stick in the mind. When you were doing broken horses. I mean working in a landscape that's new to you. How did you go about thinking about the visuals of shooting in California rather than places you were more familiar with? You know one of the things that I will always cherish that when James Cameron saw the film first time. He said to me how long did you take to storyboard this film. And I said I did not storyboard this film. And he was shocked. He said this composition is without storyboarding. And I told him the same story I'm telling you. I said that I couldn't read and write well when I was young. So maybe I've developed a visual sense that is because I couldn't read. He couldn't believe that and coming from him that was a big thing for me. So I have a certain visual sense like this light is still really bothering me. This one isn't great for me either. That's why I wear dark glasses. Today I didn't want to wear dark glasses because it is evening and I thought everybody said this guy is crazy. But I am sensitive to visuals. Answering your question I did not go to make a western in a way. This film initially was based in New York City. But I realized that I can't make a movie in New York because when I went to the city I didn't know the city. So I told Abhijad I said let's go to the basic elements. Water I know. Wind I know. Earth I know. Fire I know. So I used, I made that whole film around these elements. And if you see this film you will see all the elements in play. Which I know. Which are universal elements. So I used English language because that was foreign to me. But in terms of visuals I didn't want to burden myself with New York City. I went to what I know anywhere in the world. These are the elements. So that is how it became a western. So we've talked a bit about that. We know you're financially savvy so we know that. We know the script and the visuals. But the actors, what was it like working with actors that were new to you? It was amazing. For me it was such a learning experience. Winston Dinoffy or all of them Chris Buddy and Antonio. For me it was like a dream come true. Because see in India we have a lot of warmth on the set. Everybody is like a family. But we also have a lot of inefficiency. Unbelievable amount of it. Ab en am y taf can come you've written a book on it. I have. Dinoffy ddiar mae'r traffic ffaziaid. 2 gwnta lag gwaith, sir. 2 gwnta leit a yna. Ych ar dwi gali mae'n dynai. But it's family. So it's very warm but very inefficient. Hollywood is very cold but extremely efficient. If it's 6 in the morning the actor is ready with his lines and make up. 6 in the morning where I want him. I did not ever have to say where is the star. So for me it was amazing. And also you must understand that in India people know who I was. Who I am at least. Then nobody knew me. I was like a kid out of school with a script. It's like you know I say jokingly Steven Spielberg going to Mars to make a film. And Marshaen's telling me Steve you make movie from where? Earth. Planet Earth. Show me what you got. It was like that for me. And they respected the script. And for me I felt as if I was out of school. Because people respected me for what I had written. Not for who I was. And that was a great feeling. And did the actors watch your Hindi movie? Actually I told them not to. I said it was scary because you know my Hindi movies are over the top. They would just die. They watched Ikhla with the Royal Guard which was closer to their style. But surprisingly they watched Mission Kashmir which they loved. Then they watched everything. When I was making the movie they watched everything I had done. But I didn't recommend it. I said don't see it because this is very different. I thought they would be scared. I mean I've only seen the trailer but presumably there must be backing music. Was that strange working with a difference? Do you have a particular style of backing music? Were you working with western musicians? Yes it was very difficult for me. Because I used sitar, surul and suddenly I had violence in Macedonia. And I had John Devney's my composer who had done Iron Man and things like that. So it was very difficult. But another unusual thing about this film was that Shantanu Moitra was a Bengali composer. Was actually with me. He has worked with John Devney who is an American composer and collaborated to make this music score. That's why it's so unusual I think. Well I suppose my next question is when am I going to see the film? I think it's April the 10th. I won't be here then but I'll be trying to see as soon as I'm back in the UK looking forward to it. But I know many of you in the audience have questions that you want to ask. So what I'll do is do you like to take one on one or do you want me to take three and then you answer? See how they go. We'll start at the front. And could you just identify yourself when you ask your question. Just say your name and if you have an affiliation to Sewers or Nisu that would be great. Thank you. What I find most interesting is to see somebody from our part of the world going into Hollywood and not telling an NRI or like a slumdog millenial type story. Or you know like painting yourself as immigrants. So it's a Western story that you are essentially telling. And I find also the fact that you know because it's coming from you and you have written it I'm looking forward to seeing what universal elements will there be in the story and what emotions that you know as from that part of the world of you I can connect with. I would like to hear your thoughts on that. And secondly just a second question. Let's go one by one because I have to remember that. Let me tell you the reason I wanted to do this film is not because I want to do Indian going there. That doesn't interest me. I was really wanting to prove a point. I really would like you to be proud of this film. And if you were not I would be very unhappy. That was one of the reasons I did this film. I wanted myself to be very proud of it and it's very difficult because it wasn't just me. It's the first time anybody has co-written produced and directed and I could have made a fool of myself and all of you. Somebody say here's Bollywood coming to Hollywood. Did I mention that Jim Cameron collab thing? No I didn't. Let me tell you what happened. There was a huge cinema hall and Jim Cameron sat on front row which we call the third class in India. I was in the balcony right at the back. And when the movie got over the theatre was still, the titles were going it was dark and I heard claps. And this guy started clapping and walked all the way back and I thought that he's mocking me for a moment. Because that was one moment I said he can't love it so much so he's going to come and tell me Bollywood. Welcome to Hollywood. Everybody thought that and he had read the script and liked it so I thought he will say it was a great script and you made a hash of it. When he came to me and he said you did it and I looked at him and he hugged me and then of course he started praising. That's when I realized that yes it's done yes it's done. Having said that my idea was not to do a immigrant you know Abhi's Indian slum dog. I wanted to prove a point that we can do it. See when a mathematician or a scientist comes to Oxford or Cambridge he's teaching or learning the same mathematics. The same science he's doing in India. Cinema is a completely different art form. India is a completely different art form. I actually must thank those two people who danced and sang the song. There's somewhere here but I really thank you so much because I went back and I remembered moments when I created that music. And at this moment when I'm full of broken horses it's meant even more to me that from this movie. But that is what I wanted to prove. So it's not it's very international. All the best for that. Thank you. And we wish we show to watch it. I think I'll take, do you mind if I come back to you later and take another question. I'll just pass the microphone back and let's see if you were lucky dip where it ends up. Hi I'm a Suez student. I'm studying economics and I'm from Pakistan. I really enjoyed a lot of all of your movies actually. I just wanted to ask you when you were making PK were you worried about the backlash with the religious aspects of it? I loved it and I thought it was a great message. But I just want to ask that and the second question would be will you ever make a movie with Raju Hirani not being the director? No I've made films with Raju and not with Parinita that I made he was not the director. Farari ki Savari was not the director. No no clearly. Raju Hirani is now Raju now is Rajkumar Hirani. He doesn't have to stay with me. He's brilliant though. No no I mean it's like he's totally free. I never not even after my mother was nothing that nothing no three movie deal like Yasha nothing. He's totally free and I don't even know the religious aspect. See when we did PK I was jokingly telling everybody before I made PK I said finally we'll get Bharat Ratan in Pakistan. I was fully aware of what I was doing. I am from Kashmir. My house was looted by militants. My mother had to literally run away from Kashmir. And something that happened to me which you'll understand I think a lot is when I went to Kashmir I went with army which was much later. And there was this guy you know bearded man who comes and there are people who are living in my house. And this lady who used to be you know she used to come and what chawal chattyri. I don't know how to say that in English. She used to come once a month to do that. She was the woman who had taken over the house. So my immediate reaction when I looked at this guy was this guy. Then she took me around the house and our puja was on the top floor. And when the house the top floor was dirty but when she opened the puja room it was very clean. I looked at her and she realized and she immediately said to me no no none of us enter this place. He goes to clean it because he's a namazi. See it even now kind of chokes me because it was a slap on my face. This guy who did namaz five times went to clean Hindu puja. So PK was part of that. And I'd just like to say that your wife is the best film critic in India. Thank you I hope you can. Can somebody record this? Her books are required reading on the cinema course here. Okay can we take another question? Keep it going back and then don't forget to pass it this side later. Good evening. I'm actually initially from Mumbai. I've been here for eight years so lovely to see people from Mumbai here. My name's Neha. I've actually got a friend who works for Nisu. So she's referred me to come here and very grateful, honored to be here. My question is obviously your stories that you've written are so different, right? From Perindah to 1942 to PK to Munna Bhai. Each story is unique. Mission Kashmir was unique. How much of your personal life leaks into the story that you write? Totally. Totally. Because I'm ill-read. I can't read Shakespeare even now. I don't understand him. I would love to but I don't. Because I'm not read too much, every story is really my story. I'm in broken horses about brothers because I'm very close to my brother who did PhD here in London School of Economics. I was telling Michael. So it's my story. Munna Bhai somebody told me this morning. He said, how did you have the confidence to walk into Hollywood and say, you know what, I can do it? I said, because I am Munna Bhai. I can do it. See, you have to say what like he. Welcome. I can do it. So yeah, it's really a lot of me in my films. Thank you. Thank you so much for coming in. Sorry. I'm Jishnu Soni. She invited me to this event as well. Why have it taken you so long to come to Sawas? I don't know. Nobody invited me before that. Keep coming. Definitely. My question is like, what would you advise and like how to, if for an aspiring actor or director to go into Hindi film industry and especially from if you are based over here? I'll tell you this. The thing I remember with Akira Kurosawa was one of the greatest filmmakers ever. I asked him the same question. I was a student in Delhi. He had come there with Michelangelo Antonioni that time and I sat there and I asked him Akira Kurosawa. I looked at him and I said, how do you write? And he used to speak in Japanese and he had a Japanese interpreter. So he looked at me and said, right? I said, yeah. Then he said, right, right, right. Then he went on, right, right, right. Right, right, right. Then he said something in Japanese and the interpreter said that's the only way to write a screenplay. So my answer is very simple. You have to write, write, write. There's no other way. 66 times this broken horses. You know Vikram Chandra. She knows Vikram Chandra. He was my wife's highly qualified great writer and when we started writing, we used to send it to him. And he, I have, me and Abhijad, he used to tear the pages and send it back. It's rubbish, is it? And many days later there was one page that had no note. Me and Abhijad said, we have one page. That's how we wrote, broken horses. So you got to push it, you got to do it. There's no other way. Can we send the microphone back? Start hurting this way a bit, then we'll come back. My name is Veena. In all the movies that you make, you are questioning something. You're going against the conventions and the norm. So does that make you a rebel? And what makes you question everything? You know, if I'm, whether I'm a rebel or not really is for you to figure out. My wife thinks I'm uncouth. I'm, I have uncivilised my daughter thinks. But am I a rebel? I don't know. I don't take rubbish from anybody, whoever. I speak my mind clearly. I speak my truth. And if that's being a rebel then so be it. But I am not a rebel for the sake of, oh I'm a rebel. I don't think I'm a rebel. I'm a man who believes in what he does and he speaks his mind clearly. It's for you to say. I don't think. I would like to believe that I've followed my heart. And if that's being a rebel then I am, I guess. One last question I'm afraid. One last question. A short one, yeah. I'm Ubed Akhtar. I'm from Delhi. I'm practicing social work here in UK. So my question is very simple. It's your movies, most of the time, in your movies there are social messages. And is there a social message in Broken Horses as well? Broken Horses is a movie that will bring you closer to your family, to your siblings. That's what I'm saying in the movie in a way. I'm talking about the futility of violence and also it's talking about brotherhood. It's really, I think the world is becoming such a violent place. There is so much violence now in the world that it's very scary. There's a line that we wrote in P-Cases if this is how the world goes. Sab jute rei jain ge. For me as a filmmaker it's a very scary thing. I think what I'm saying in Broken Horses is really the futility of violence and the joy of family and brotherhood and love. Alfonso Cuaron in his quote said that it's a film about love. It is, that's what I want to say. I want people to live in harmony, brotherhood, as I told my friend from Pakistan. Coming from a man whose house was looted. I think that it's very important for us to really go out there and really give each other a hug and say, let's love, let's not hate, let's not be violent. Let's try and understand each other. It's very dangerous where the world is. I don't know what's going to happen 50 years from now with this kind of violence. I think we'll just blow up the whole planet one day. Really it's very scary. That's what the film is about. Well thank you very much for that and giving us all, thank you. It's been wonderful to have a talk here about a film we haven't yet seen. We hope we'll get you back to talk about it and I'm sure it won't be long till we start seeing Hollywood films endorsed by Vidovin O Chopra. Thank you very much. Thank you. I really appreciate it and I really am very grateful for that journey that you guys took me with my music and everything. Really it was wonderful. Thank you. Sure. With pleasure. With pleasure.