Aamir Khan: the Lone Ranger

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You must talk to some people who dislike me,” remarks Aamir Khan suddenly. It is difficult to gauge whether the actor is serious or joking, as he sips masala chai and munches on an unbuttered crisp, brown toast. Khan is sitting in his hotel cafe overlooking Pondicherry’s beach front promenade. The actor is in the French Quarter of this picturesque southern state, shooting for Reema Katgi’s yet-to-be titled movie. Playing a cop in the movie, Khan is on a special diet, and so the meagre meal.

A daunting task as it may seem, there maybe people who dislike Khan, except that there are few who would dare to admit it. In the film industry, nothing sells like success. And over the last decade, Khan has kept a firm Midas touch on the box-office, both as an actor and producer (see graphic). It’s a fact Khan knows well, but what differentiates him from the others is that the man with the golden touch is driven not by commerce alone and has ensured over the years that the film is always the star. His cousin and childhood friend, Nuzhat Khan (Imran Khan’s mother) says, “I don’t see Aamir as having any noble purpose of enriching or contributing to cinema as his conscious goal, but that is exactly what he is doing. Perhaps, this is his greatest contribution – he makes everyone associated with him want to do a much better job, and he supports them with all his heart.” This “support” is what Ashutosh Gowariker acknowledges when he says that Aamir “was like a rock standing behind me and gave me a second lease of life”, referring to Khan as the producer and adding that Khan’s biggest contribution to any film is that he infuses it with a nobility of purpose. If things did sour with some of his other directors like Amol Gupte and Anusha Rizvi, Khan is clear that as a producer the film comes first and he has always made it clear that he will have the final word on it. It’s a risk the people working with Khan have to take.

Till the turn of the century, Khan, who turned 46 in March, had completed 15 years as an actor, but had never been tempted to break the promise he had made to himself – of never venturing into production. “I had never hidden the fact that I had no desire to become a producer,” says Khan, with the dark memories of a childhood, which saw his father producer Tahir Hussain suffer, still raw. Yet, a decade ago, Khan decided to take a step into that neverland with Lagaan, a decision so pathbreaking that for the first time in his career, Khan decided he needed the nod of approval from his parents and wife Reena (first wife). “I had already decided that if this story had to be told… only I would tell it,” says Khan firmly. And, he was glad when his producer-father’s reaction met with Khan’s expectation. “A good story,” said his father, “must be told.”

Looking back, Khan recalls his most cherished moment as producer, when both his father and uncle (also his mentor) Nasir Hussain were present at the mahurat of Lagaan , the debut film for Aamir Khan Productions Pvt Ltd (AKPL). The scale and the attention to detail Khan had given made both his family seniors very proud. Neither had attempted a film of this scale, where the logistics were nothing less than mind-boggling. “It was definitely one of the most emotional moments in AKP’s decade to have had them both present when I was setting out on my own,” says Khan, who regrets that his uncle did not see the completion of Lagaan and his aunt, Nasir Hussain’s wife, did not see his first directorial venture, Tare Zameen Par(TZP) .

The six-year gap between his first production and second (TZP) may have been surprising for those looking at AKP without Khan. Even for a boutique production house, it’s a long time. But AKP is only about one man – Khan – and those who know him are not surprised. “Growth is not always about scale and size but about growing with the times and that’s what Aamir has done best,” says UTV chairman and MD Ronnie Screwvala, who has worked with Khan on all six films of AKP in some capacity or the other. In fact, Khan says quite bluntly that if there is no film that excites him to produce it, AKP will not make a film. “If there is one motto that binds AKP, it is that we will only make films we enjoy ourselves,” says Khan. He knows it does not make business sense, but by his logic if it was only about money, he can and is making more than enough as an actor. He doesn’t need to produce films. What he knows firmly is that there will never be any scaling up. It will always be one film at a time only for Khan and AKP. The last two years, according to the actor-producer, were an aberration.

“I have consciously decided never again. Since I want to be involved in all aspects, I cannot be everywhere, so Delhi Belly got delayed because I was involved with Dhobhi Ghat, while Kiran had to wait because I was involved with Peepli Live. So, henceforth, only one film at a time at AKP,” says Khan emphatically. As always, against the flow, when every actorturned-producer is scaling up and adding verticals to their business, putting their production company name on every film, Khan chooses to go even more selective. A decade ago, Khan had an offer from none other than stock guru Rakesh Jhunjhunwala to go public. Something he had rejected then saying he didn’t need the money, so why would he. Now, would he? No, he still does not need the money and the idea of “being answerable to anyone every quarter for what I do is scary”.

Yet, Khan is more pragmatic today and admits he has learnt never to say never. “So, if I were to, say, do a project like the Mahabharat in seven parts and each part would require a multiple hundred crore, I would have to raise that money and in such a case, maybe I would go to the public and lay out my plans of the project and how I plan to spend the money and then ask them to put their faith in me,” says Khan. So, is he planning anything like that? Mum is the word.

A decade of success will be followed by two more, believes Screwvala as also Khan’s friend and co-star Rani Mukherjee who adds that her dream would be to be directed by Khan in an AKP film. But what does Khan see as the future of AKP if scale is out? “To remain a boutique firm, like a cottage industry. Business is not our model. Ten years later also, I want to be personally involved with every aspect of a film we produce. I like the element of surprising myself like with Delhi Belly which is a googly AKP has delivered on itself. I want to continue to back scripts which are really unusual and ground breaking, while always making films we enjoy ourselves. It’s not a very complicated vision. Yes, I will never ever sell any part of my company,” says Khan.

There are some surprises in store though. Like the two scripts that are work-in-progress and being worked on by Kiran. One of them is an art house film. The other, a huge mainstream film, is being co-authored by Khan, his first attempt at writing. And he will wear the director’s cap again soon. When and for which film is another yarn to spin for another day.