Shah Rukh Khan

The NRI communities have been responsible for the breakthrough in the areas where they are living ? like England. Duncan [Kenworthy] became aware of Indian films because of the presence of Indians, Pakistanis and Sri Lankans in England and we have a little window now and it is a great opportunity. This (BAFTA) is an institution which is opening its arms and giving us a platform. Opportunities like this give us a chance to build on it and try and make Indian cinema for a truly universal audience.

Our films offer audiences an experience beyond entertainment. It is about a portion of life, which they may not experience otherwise. We do believe the length is value for money. I personally believe we should make shorter films. Every artiste in his heart and mind wants the world to recognise his work of painting, poetry. Appreciation is the reason why artistes work and these two artistes [Karan Johar and Yash Chopra] have been working from the heart and doing very well. But I am a little more practical. If I am invited to a party in England and have to wear a dinner jacket, I would respect that. That [shorter films] would only happen if there is a synergy between an Indian film and a screenplay writer from the West. If that kind of synergy happens, I think even Karan would make a film which is shorter. Right now we have an Indian way of storytelling and we stick to it. But if the time demands it and the universal audience is there and there is a distributor who says, ‘I will distribute it,’ I am sure we can.

Karan Johar

Whether they are Indians or Pakistanis, for me I look at them in the same way. I firmly believe they are bound by one language ? one may be more refined than the other but it’s the same language ? the same people, the same emotions, same family structures. Films can make a big, big impression and again change the course of things. If you see a film like Veer-Zaara, which Mr Yash Chopra made, I think it was the most authentic positive depiction of the two countries. Today I was in the hotel and a lady from Lahore came and said, ‘Thank God for Veer-Zaara.’ There are movies being made that will probably bridge the gap.

[On length]: I am not actually willing to change anything and I have been very clear about that. When I have been asked to make a two or two-and-a-half hour version [of my films] I have always said I can’t do it because that is not the way the film has been structured. We are a very proud filmmaking nation. We are the only filmmaking nation that has survived without any kind of studio backing.

Actually we have been so self-obsessed and lived in our own cocoon because our domestic market has been so strong. That is the reason why we have not penetrated the Western world till about five years ago. Lagaan actually came as a shock to all of us, even to the filmmakers. That’s what started the ball rolling. But I think it is wonderful to open avenues. I look at an event such as BAFTA as bringing about more awareness, more eyeballs, more exposure. As a filmmaker it is wonderful that many more people in the world see your movie but that does not mean we have to cater to them specifically at the cost of our domestic audience. At the end of the day, nobody matters more to us as filmmakers than the Indian/Asian audiences. It is not fair that they have given us 50 years of love and suddenly we turn our backs on them because we have won the Oscar or the BAFTA. I, as a filmmaker, refuse to change my format to adapt to anyone or anything.

Yash Chopra

The Indian film industry is the most secular film industry in the world. When a step is taken towards India-Pakistan’s friendship, Veer-Zaara will be remembered. I don’t make political films, I make only human films. These films do create a path for coming together. Emotionally, culturally they [Indians and Pakistanis] are one. The biggest blockbusters in Indian cinema are three hours long. Why should we change our style ? this style we have been doing for the last 100 years? Why should Karan Johar change? His audience is there, at home and abroad. Every film of his has set a benchmark in overseas business. His style is working for him.

This [honorary life membership of BAFTA] is not an honour for me only, it’s an honour for the Indian film industry and our country India and I am proud of it. This relationship [with BAFTA] started today and, in the years to come, it will become a meaningful, purposeful, wonderful relationship. It has taken it [BAFTA] a long time to recognise the Indian film industry.

Preity Zinta

I wanted to do films that had some kind of educative base. Kya Kehna! was a film about a single mother but in India if you are a single mother, you are evil. Everything is wrong with you.

[On being asked, ‘How do you deal with millions of sweaty men in darkened cinemas clenching and unclenching their sweaty palms?’]: In a theatre they are not looking at you, Preity Zinta, they are looking at an image which has a bunch of writers, the director, the production, your DOP, there are various people working to create that image. For certain films, I wear a burqa and I go into the theatre and sometimes you get a little embarrassed by the way people react. They feel they own you. In India it’s not entertainment for them, it’s a religion.

Aamir Khan

I prefer listening to scripts as opposed to reading them. Because I like to know how the director is seeing the film. Whether it is a real person or a completely fictitious one, either way, the key for me is to get into the head of the character. How he would sit, stand, walk, run, talk all that comes when I am in his head and I know how his head ticks. Let’s take Bhuvan from Lagaan ? Bhuvan’s strongest quality is his inner strength so no matter what he is faced with he has so much inner strength that he can face up to anything and he does not flinch. How do you project all these qualities? For me the key was his back is always straight and he never stands with his weight on one foot.

Aakash in Dil Chahta Hai is extremely unreliable. His eyes never stopped moving. There is a naughty glint in his eyes at all times. I have to believe that what is happening to the character is happening to me.

[When a shot is taken]: I never check the monitor. What I like to look at are the director’s eyes. I hate directors who sit somewhere else and watch the shot on a monitor. I need to know from him what he is feeling. That connection has to be there. At the very core I am a creative person. I’m an actor. I will never get into being a full-time activist. But at the same time I’m a member of society that we live in. I would like to be a sensitive and responsible member of society. I would like to contribute in any way I can. We should not be sitting on the fence on issues. We should voice our concerns.