"Bollywood is just one part of Indian cinema" - Nandita Das
So
when
most
people
around
the
world
think
of
Indian
cinema,
I
guess
you
know,
automatically
Bollywood
springs
to
mind.
As
an
Indian
actress,
though,
you
don't
seem
to
want
any
part
of
the
Bollywood,
sort
of
you
know,
saccharine
sugarness,
do
you
think
that's
true?
I
didn't
want
to
ever
be
an
actor
to
begin
with,
so
my
journey
was,
you
kind
of
stumbled
upon
acting
and
you
think
well,
it's
interesting,
it's
another
world,
there
are
stories
you
can
tell,
you
can
be
part
of
these
wonderful
stories,
and
that's
how
I've
seen
my
career.
So,
I
haven't
really
not
wanted
to
do
Bollywood,
but
yes,
there's
certain
kind
of
cinema
that
I
don't
relate
to.
I
didn't
even
grow
up
watching
them.
So
when
you
don't
watch
them,
you
don't
look
at
it
and
say,
Ah
I
want
to
be
there,
you
don't
want
to
be
there.
So
it's
not
a
great
struggle.
And
often
people
misunderstand
-
they
think
you
kind
of
look
down
upon
Bollywood,
but
it's
one
part
of
Indian
cinema.
Indian
cinema
is
larger
than
that.
What
do
you
think
then
about
today's
crop
of
Bollywood
bunnies
because
you're
just
so
not
like
them
at
all?
So
you
want
me
to
just
make
lots
of
enemies
and
basically
never
do
a...
So
now
we
know
what
you
think
of
the
Bollywood
bunnies
then,
if
you're
going
to
make
enemies.
Well,
I
said
nothing.
No
I
mean
I
think
it's
everyone's
choice.
It's
really...
there
should
be
that
much
free
will
to
live
your
own
live
by
your
own
terms
and
they
are
doing
what
they
think
works
for
them
and
I'm
doing
what
I
think.
And
it's
been
10
years
that
I've
done
films
and
I
still
get
these
questions,
people
still
ask
me
the
same
questions
in
every
interview
or
even
otherwise,
so
why
don't
you
do
a
Bollywood
film?
Why
don't
you
live
in
Bombay,
this
is
where
all
the
action
is?
But
it's
again,
the
choices
I've
made,
I'm
not
saying
everything
good
has
happened
because
of
that,
I
have
lost
out
on
work,
because
you
have
to
have
more
visibility,
you
have
to
be
more
marketable.
Even
to
get
good
roles
in
good
films.
So
sometimes
I
do
feel,
mmm,
well,
I
wish
I
could
do
that
role.
But
then
you
don't
get
it
all.
I
mean
the
choices
that
you
make,
then
you
get
things
according
to
that,
and
I
think
I've
gained
a
lot
of
sanity,
a
lot
of
peace
by
being
away
from
a
certain
system,
which
otherwise
I
think
makes
you
fairly
insecure,
and
you're
on
the
edge.
It's
not
just
song
and
dance
per
se.
But
the
whole
lack
of
realism
that
I
think
I
look
for
in
films...the
way
women
characters
are
portrayed,
the
stories
people
want
to
tell
and
hear.
So
it's
a
different
world.
You
started
your
acting
career
relatively
late
by
Bollywood
standards,
anyway.
Up
until
then,
you'd
been
doing
social
work,
professionally.
How
did
you
make
the
transition
from
doing
that,
to
being
cast
in
a
major
role
in
Deepa
Mehta's
Fire?
It
wasn't
really
a
transition.
It
was
another,
I
don't
know,
medium
of
expression.
It
was
just
another
way
of
telling
things
that
one
wanted
to
because
even
in
social
work,
the
work
that
I
was
doing
was
mostly
about
communication.
But
acting
was
also
in
a
way
it
was
another
medium
to
say
all
those
things.
And
that's
why
the
choice
of
films.
That's
why
the
kind
of
films
that
I've
chosen
are
very
much
in
sync
with
my
other
concerns,
my
other
interests.
What
do
you
make
of
all
the
controversy
that
was
sparked
by
Fire?
How
can
you
talk
about
homosexuality
in
a
society
that
would
rather
not
talk
about
it.
So
in
a
way
I
think
it
was
good
that
such
debates
happened,
where
people
were
forced
to
discuss
it.
And
not
just
about
lesbian
relationship,
but
about
questioning
arranged
marriage
system,
talking
lack
of
choices
that
women
have.
Even
talking
about
freedom
of
expression
because
when
the
handful
of
people
started
attacking,
there
were
people
who
just
took
to
the
streets
who
just
said
that,
'Are
you
guys
going
to
decide
what
we
must
see
or
what
is
good
enough?'
I
think
that
debate,
not
only
just
helped
the
film,
but
helped
the
larger
cause
of
these
kind
of
issues...
issues
on
women
and
freedom
of
expression
etc.
So
I
think
it
was
a
good
thing.
The
next
part
of
the
trilogy
was
1947:
Earth
which
was
a
lot
less
provocative.
Do
you
think
that
was
perhaps
Deepa
Mehta's
way
of
saying,
"Alright,
alright.
I'll
just
relent
a
little
bit"?
No,
no,
but
it's
strange
what
makes
a
controversy.
Earth
talks
about
how
religion
is
used
by
politics
and
you
know,
how
religious
politics
is
used
to
divide
people.
What
happened
during
partition
and
how
people
who
have
no
role
to
play
in
these
decisions
become
victims
of
it.
I
think
that
in
today's
time,
that
should
be
as
controversial
as
anything
else.
But
because
it
had
Aamir
Khan
and
it
had
songs,
probably
they
said
okay,
it's
sort
of
commercial,
and
nobody
really
knew
what
label
to
put
on
it.
You
were
cast
in
the
final
part
of
the
trilogy,
Water.
Shaved
your
head
for
the
role.
But
then
you
didn't
actually
get
to
do
the
role.
What
happened?
This
is
a
question
for
Deepa
Mehta,
but…
well
initially
I
was
upset
because
even
when
they
were
doing
it
the
second
time
around,
I
was
going
to
be
part
of
it.
And
that's
a
decision
she
took,
and
she
knows
best,
and
I
did
express
the
fact
that
I
was
connected
to
the
script
right
from
the
beginning
so
there
was
an
emotional
attachment,
there
was
a
professional
loss,
there
was
at
a
personal
level,
also
it
was
part
of
the
larger
fight
that
I've
been
in,
in
the
sense
of
this
whole
thing
about
freedom
of
expression,
this
cultural
policing
that's
been
happening
for
long.
So
at
many
levels
there
were
regrets
of
not
being
able
to
be
part
of
it.
Because
of
the
movies
and
particularly
Fire,
she
got
death
threats,
effigies
were
burned
of
her
in
the
streets,
I
mean
it
was
full-on
at
the
time.
I
still
really
remember
that.
Were
you
ever
afraid
for
your
safety,
having
played
such
a
large
role
in
the
previous
two
movies?
Yes,
there
were
threats
and
in
fact,
during
Fire,
when
that
whole
attack
happened,
I
had
a
policeman
outside
my
door,
in
the
hotel
and
after
that,
at
home
in
Delhi.
So
there
was
a
bit
of
a
tension.
In
fact
my
parents
always
say
that,
look
Deepa
Mehta
is
going
to
go
back
to
Toronto,
she
has
a
big
house,
there
are
people
protecting
it.
You
live
on
your
own,
stop
being
foolish.
But
then
my
parents
are
the
ones
who,
in
a
way,
taught
me
to
speak
out
and
I
tell
them,
'too
late,
now
you've
taught
me
all
the
wrong
things,
I'm
sticking
to
it'.
So
I
don't
think
the
threats
were
bad
enough
to
worry
too
much
and
I
think
when
you
kind
of
take
a
stand
or
jump
into
fire,
then
you
go
all
the
way,
and
no
pun
intended.
In
2000,
you
starred
in
a
movie
Bawandar
about
a
woman
who
tried
to
introduce
progressive
thought
to
some
local
people
of
a
low
caste
and
she
was
gang-raped
for
her
efforts.
True
story.
Tell
us
about
what
it
was
like
for
you
to
film
that
sequence
that
day
of
the
gang
rape.
When
I
actually
did
the
gang
rape
scene,
and
this
was
out
in
the
open,
on
the
sand
dunes,
which
was
supposed
to
be
a
closed
set
but
how
do
you
close
a
set
when
it's
right
there
in
the
open?
And
I
can
see
all
these
men
snickering,
there
was
a
big
crowd
near
the
monitor,
everyone
was
trying
to
see,
there
were
lewd
jokes,
like
the
guys
who
played
the
rapists,
they
would
walk
out
from
the
scene
and
someone
would
ask
them
was
it
fun
and
all
of
that.
And
I
remember
that
was
one
day
that
I
actually
screamed
and
shouted
and
I
said,
I
can't
believe
we
are
doing
this
film.
What's
the
point
if
this
is
how
people
are
going
to
react,
this
is
just
not
worth
it.
And
what
I
really
felt
at
the
moment,
it
was
not
just
anger,
there
was
an
awkwardness,
there
was
a
feeling
of
shame,
there
was
a
feeling
of
humiliation,
there
was
a
feeling
of…feeling
completely
vulnerable.
And
I
wanted
to
know
what
is
this
woman
made
of,
and
I
will
never
forget
that
evening
when
I
actually
went
to
her
house
and
we
had
this
lovely
conversation.
She
was
such
a
strong
woman
that
it
was
very
inspiring.
Because
I
think
some
of
us
who
may
think
we
are
very
modern
and
very
liberal
and
out
there
and
educated,
may
not
have
that
strength.
You've
had,
you
know,
many
years
now
of
specifically
trying
to
empower
women
whether
its
through
your
movie
roles,
street
theater
in
which
you're
heavily
involved
or
of
course
directly
with
your
social
work,
so
how
far
do
you
think
Indian
woman
have
come
today?
I
can
say
that
over
the
years
definitely
more
women
out
there
they
are
speaking
out,
they
are
in
different
fields
that
they
probably
hesitated
to
be
in.
There
are
many
more
rape
cases
that
are
being
filed
which
itself
means
people
are
willing
to
go
that
extra
mile,
it's
not
about
my
humiliation
and
my
shame,
I
want
that
guy
to
be
convicted
so
he
doesn't
do
that
to
others
etc.
So
while
all
that
is
happening,
there
is
a
strange
regressiveness
also
that
is
happening.
Today
on
my
way
here
I
read
there
are
6,000
dowry
cases,
dowry
deaths,
a
year.
So
you
kind
of
wonder
where
we
are
going.
Are
we
really
progressing,
are
we
kind
of
taking
two
steps
forward
one
step
backward.
And
women's
empowerment
is
not
going
to
happen
in
a
day
we
all
know
that.
I
mean
even
if
we
work
all
our
lives,
its
still
going
to
be
a
drop
in
the
ocean.
But
you
just
wish
that
at
every
level
these
things
would
happen
and
would
be
implemented
for
that
change
to
be
a
little
more
visible.
You
went
to
Sri
Lanka
to
deal
with
the
aftermath
of
the
tsunami
and
you
had
a
special
focus
on
children.
Tell
me
about
the
stories
that
really
stuck
with
you.
It
was
stark
what
happened
in
Sri
Lanka,
there
were
people
who
were
working,
it
was
just
a
spontaneous
decision
of
going
there.
And
it
was
shocking
what
was
happening.
And
just
listening
to
the
stories
of
people.
There
was
a
small
child,
who
just…every
time
there
was
water
flowing,
even
in
a
drench,
she
didn't
have
a
bath
for
about
10
days,
because
even
if
there
was
water
flowing
in
the
drain,
she
would
think
that
something
has
happened,
that
it's
going
to
come
and
attack
her.
Imagine
a
child
being
scared
of
water
all
her
life,
it
could
have
that
kind
of
an
impact.
So,
psychologically
how
people
get
affected
is
so
much
deeper.
And
we
in
our
world,
we
think
of
something,
there's
media
attention
for
a
couple
of
months
and
it's
forgotten,
and
I
think
their
lives,
I
don't
know
how
many
of
them
have
actually
been
able
to
really
move
on
in
the
true
sense
of
the
word.
So,
it
was
again…and
all
these
experiences,
you
also
move
on,
you
do
other
things,
you
carry
on
with
your
life,
but
they
subconsciously
get
stored
somewhere
in
your
mind
and
form
your
overall
thinking,
or
they
help
you
to
be
a
little
more
sensitive
than
one
was.
How
do
you
cope
with
basically
dealing
with
people
who
are
essentially
broken,
because
we
often
hear
from
people
who
went
out
to
tsunami
zones
or
any
major
disaster
zone,
and
going
through
these
things
with
the
victims
there,
makes
people
sort
of
question
everything?
Absolutely,
it
does,
and
there
are
no
rules
because
you
know,
sometimes
just
asking
someone
is
very
helpful,
because
they
are
just
dying
to
just
get
it
all
out.
And
they
are
not
just
in
tsunami,
but
when
I
used
to
work
with
women,
this
used
to
be
the
question
and
the
dilemma
and
they're
kind
of
waiting
to
just
pour
it
all
out.
And
then
there
are
others
who
don't
want
to
talk
about
it,
where
you
don't
want
to
ask
them
anything,
you
feel
cruel
asking
them,
because
they
have
probably
already
told
a
hundred
times
over
and
all
you
want
to
do
is
just
be
there
and
give
them
that
feeling
that
in
this
small
way,
you're
there
for
them,
or
there
with
them,
and
not
to
give
false
hopes,
not
to
go
and
say
I've
come
from
wherever
and
I'm
going
to
sort
it
all
out.
Especially
sometimes
in
India,
you're
off
to
see
a
riot
or
you
know,
a
certain
thing
that
has
happened.
And
they
look
at
you
thinking
you're
going
to
now
take
care
of
everything,
and
they
want
to
literally
give
you
their
child
and
say,
can
you
sponsor
this,
can
you
do
that
and
can
you
get
us
this?
And
you
feel
so
helpless,
and
you
feel
like
my
God,
why
did
I
come?
Am
I
really
going
to
be
able
to
do
anything?
So
Nandita,
here
we
are
in
post-production
for
your
directorial
debut
In
Such
Times.
What
is
the
movie
about
and
just
sort
of
tell
us
about
your
experiences
being
a
first-time
director?
Well,
In
Such
Times
for
now
is
the
working
title;
I'm
still
looking
for
a
Hindi
title.
So
it's
basically
about
human
emotions
and
how
violence
impacts
implicitly
or
explicitly,
human
relationships
and
human
psyche,
that's
what
the
film
is
about.
But
it's
not
a
big
long
lecture;
it's
an
ensemble
film
with
five
different
stories,
where
different
relationships
are
explored
and
a
journey
of
each
relationship
which
is
in
a
day's
time.
So
it's
really
a
day
and
a
night
story.
Hmm,
as
an
experience.
My
god,
I
could
write
a
book.
I
think
what
really
interested
me
and
what
I
enjoyed
the
most
was
to
work
with
actors.
I
think
as
an
actor
you
get
this
opportunity
to
observe
another
actor
and
then
do
all
the
tweaking
that
you
would
otherwise
never
get
to
do
in
your
own
performance
-
was
very
exciting.
Well
what
sort
of
challenges
were
you
up
against?
Oh,
many.
For
one,
like
you
said,
I
haven't
done
anything
that's
so
huge
that
involves
a
hundred
people.
Just
the
fact
that
your
unit
has
one
hundred
people,
where
everybody's
asking
you
questions,
expecting
you
to
know
all
the
answers,
at
all
times.
And
as
an
actor
you
observe
little
things
on
the
set
and
you
think
you
kind
of
know
it.
But
you
don't,
you
don't
even
begin
to
know
it.
You
know,
there
are
egos
sometimes.
There
are
lots
of
politics.
There
is
all
of
that
going
on.
There
are
production
hassles.
There
are
a
hundred
things
that
go
wrong
every
day.
But,
still,
there's
something
that
just
keeps
you
going.
So,
acting
or
directing,
then.
If
you
could
only
pick
one
of
those
two,
would
you
prefer
to
have
your
strings
pulled
or
be
doing
the
string
pulling?
Ha
ha.
No,
I
do
no
like
this
overspecialization
of,
you
know,
if
I
wanted
to
do
that,
then
I
would've
been
a
full
time
actor.
But
I
think
I
would
like
to
act
and
I
would
like
to
direct.
So,
no
picking
one.
I'm
not
falling
for
that
one.
You
only
do
a
couple
of
movies
a
year,
in
India
where
they
just
churn
out
movies
day
after
day
after
day.
Yeah
exactly,
I
mean
that's
really
unusual
thing.
Because
most
actors
and
actresses,
once
they
get
their
faces
up
on
that
big
screen,
the
worst
thing
in
the
world
is
to
be
forgotten.
Don't
you
worry
about
that?
No,
because
that's
by
choice.
If
I
want
to
be
busy,
there
are
tons
of
films
that
would
be…or
television
or
talk
shows
or
ribbon-cutting
or
just
like
hundred
things
just
to
be
visible.
There's
no
dearth
or
depth
for
any
actress
in
the
hierarchy.
But
the
point
is,
does
one
want
to
do
that,
and
if
you
want
to
do
quality
work,
your
kind
of
work,
and
yet
not
be
visible,
it's
not
the
easiest
thing
to
do,
but
somewhere
you
find
your
balance.
Your
father
is
a
noted
painter,
your
mother
is
a
writer,
and
they're
fairly
well
known
in
their
own
right.
How
encouraging
were
they
of
the
path
that
you
decided
to
pursue?
Initially
not
so
encouraging.
Like
regular
parents.
Suddenly,
they
become
regular
parents
for
some
reason,
because
I
grew
up
thinking
they
weren't
so
regular,
because
they
came
from
this
other
world
where
there
were
no
pressures
on
coming
first,
no
pressures
on
being
a
good
student
but
having
a
more
holistic
life.
But
when
I
started
acting
and
also
probably
because
Fire
being
the
subject
that
it
was,
and
they
never
outwardly
said
don't
do
it,
or
this
is
wrong.
But
my
father
used
to
say,
I
have
a
lot
of
friends
in
the
film
world,
it's
like
a
dragon,
it
sucks
you,
this
too
quick
fame
and
name
and
money
and
all
of
that,
you
can
lose
your
head.
And
at
some
level,
I
think
he
wasn't
so
wrong
because
it
is
sort
of
very
quick,
and
often
it's
not
so
deserving.
And
you
meet
so
many
people,
and
I
constantly
meet
so
many
people
who
are
contributing
so
much
more
to
the
world,
that
it
not
only
humbles
you,
it
makes
you
feel
stupid
sometimes.
I
mean,
this
the
kind
of
attention
sometimes
you
get
as
an
actor,
you
almost
feel
awkward
about
it.
You
feel,
do
I
really
deserve
it?
You've
won
several
awards
for
your
work
throughout
the
years.
Do
they
mean
anything
to
you
or
are
they
just
sort
of
a
nice
thing
to
have
that
just
doesn't
matter
that
much?
I
think
everybody
says
that,
so
even
if
you
mean
it,
it
sounds
kind
of
forced
unfortunately,
that's
the
world
we
live
in.
But
they
don't
matter
a
huge
amount
probably
also
because
one
is
a
little
cynical
about
the
credibility
of
these
awards.
If
they
were
a
little
more
credible,
or
if
it
came
from
a
very
credible
body,
I'd
think
it
would
mean
more,
because
it's
kind
of
a
validation
for
the
work
one
does.
And
it
feels
good.
So
it's
kind
of,
it's
not
like
I'm
going
ecstatic
about
it.
It's
not
like
I'm
saying
ok,
big
deal…I'm
not
doing
that
either.
It's
an
award,
it's
good.
I'm
not
sort
of
sitting
and
thinking
about
it.
No.
There
are
so
many
stars
these
days
who
say
yeah
the
Oscars
are
kind
of
cool,
the
Golden
Globes
are
pretty
cool,
but
Cannes
is
really
becoming
so
prestigious
and
a
lot
of
people's
favorite
ceremony.
Talk
to
us
about
what
it
was
like
to
being
on
the
jury.
I
haven't
even
dreamt
of
the
fact
that
somebody
was
going
to
give
me
a
call
and
say,
do
you
want
to
be
on
the
jury?
And
I
was
like
sure.
It
was
kind
of
surprising
and
I
was
like,
are
you
sure
you've
got
the
right
number?
But
the
best
part
of
being
in
Cannes
was
not
just
to
see
great
films
or
to
walk
the
red
carpet
and
all
the
hype
that
is
around
it,
but
to
have
those
sessions
with
8
other
brilliant
minds.
We
had
Salma
Hayek,
we
had
John
Woo,
Javier
Bardem,
who's
this
brilliant
actor,
Emir
Kusturica…just
fabulous
group
of
people
and
I
thoroughly
enjoyed
that
process.