When my Nani passed away after my Nana, we didn't mourn. After my father passed away, my mother didn't want to live any more. When in Barfi! Ileana says she wants to die with the man she loves, that was my mom speaking. I wanted a 30-year span for the characters' love to grow. When I think of romance, I think of the 1970s. Those were the times of Rajesh Khanna's movies and his songs, and my mom and dad romancing one another. So I apologise to all those who were put off by the non-linear narrative.īarfi! is one of the most original films I've seen. I know Indian viewers get disturbed by non-linear narrations. If I had removed the non-linear narrative, you wouldn't have enjoyed the film. If I had kept the narrative linear, I'd have lost my audience. I tried to make the story linear but it wasn't working. I realised that the storytelling was getting complicated because of the time travel. Your editing pattern is quite complex, going back and forth in time, sometimes twice over in one flashback.ĭon't blame the editing. In my earlier films, too, I've experimented with silence. Not for a minute did I feel handicapped because Ranbir had no dialogues. Surely there has to be a difference between radio plays and cinema! I'd have had even less dialogue but since there was a complicated crime involved in the storytelling, I had to offer explanations through voice-overs by Ileana D'Cruz and Saurabh Shukla. I think we give too much importance to words in our cinema. It's not a perfect film but it's my most personal film.ĭid you ever fear Ranbir's deaf-and-mute act would fall flat? After my illness, I wrote dark films like Gangster and Life. Is that what gave you the strength to celebrate life so vigorously in Barfi!? You had a frightening brush with mortality when you fell ill with cancer.
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