Writer Meera Joshi interviewed Sridevi for the Nov 2004 issue of Filmfare. Sridevi speaks at length about acting in five of her most memorable films; Sadma, Nagina, Mr India, Chaalbaaz and Gumrah. As she had already spoken at length about Chandni and Lamhe in the past, these two Yash Chopra ventures were not discussed. A great read for new and aspiring actors - on how legends get the job done!
There's no method to my acting madness. Whatever you see on screen is completely spontaneous. They call me a switch on-switch off actress and it's true. I don't think for hours about my character and how I'm going to play the role. I just stand in front of the camera and let it flow. In fact, you shouldn't spend too much time rehearsing or preparing because you then lose your spontaneity.
Also, I'm a director's actress. I never went to any acting school. Since I started off as a child artiste in Kandan Karunai way back in 1967, whatever I know of acting has been learnt on the sets. My directors have been my teachers. They told me what to do and I just went on the sets and delivered. It made things easier when the director enacted the scenes because I can copy expressions very well. I am a good mimic.
Of course, there have been times when I've argued a point with a director. Whether he agreed or not, I always had my say. Once that's done, I would do whatever the director told me and do it with conviction because I respect the director's decision. I think it's up to the director to extract good work from his artistes. Which is why I say I owe my success to my directors.
I'm a good mimic, confides Sridevi.
There's no method to my acting madness. Whatever you see on screen is completely spontaneous. They call me a switch on-switch off actress and it's true. I don't think for hours about my character and how I'm going to play the role. I just stand in front of the camera and let it flow. In fact, you shouldn't spend too much time rehearsing or preparing because you then lose your spontaneity.
Also, I'm a director's actress. I never went to any acting school. Since I started off as a child artiste in Kandan Karunai way back in 1967, whatever I know of acting has been learnt on the sets. My directors have been my teachers. They told me what to do and I just went on the sets and delivered. It made things easier when the director enacted the scenes because I can copy expressions very well. I am a good mimic.
Of course, there have been times when I've argued a point with a director. Whether he agreed or not, I always had my say. Once that's done, I would do whatever the director told me and do it with conviction because I respect the director's decision. I think it's up to the director to extract good work from his artistes. Which is why I say I owe my success to my directors.
Three directors I've enjoyed working with are Shekhar Kapur, Satish Kaushik (even if Roop Ki Rani Choron Ka Raja didn't do well) and Mahesh Bhatt. With them, I feel I'm in safe hands.
Earlier I had a bindaas approach to work, and I was game to do any crazy thing on screen. Today, I stop to think how my daughters may react to what I do. I've become more careful now!
Earlier I had a bindaas approach to work, and I was game to do any crazy thing on screen. Today, I stop to think how my daughters may react to what I do. I've become more careful now!
GIMME FIVE
Sadma (1983)
This was totally director Balu Mahendra's movie. The way he narrated the movie was amazing - it was complete with dialogue, background music and songs, and I felt as if I was watching the movie instead of just listening to a narration. And when we shot the film, Laxmi behaved exactly the way the director had enacted the scenes during the narration.
Balu Mahendra is a great director who is very clear about what he wants, so there's no time wasted in discussions on the sets. It's great to work with people who know exactly what they want.
The credit for the success of Rajni's dances in the film goes to Sarojji (Saroj Khan). She gave me excellent dance steps to execute and I'm 100 per cent sure that the film would not have been a hit without her dances.
Incidentally, everyone thinks I'm a good dancer but aisa kuch nahin hai. I've never undergone any formal training in dance and whatever I know, I've learnt on the sets. It was Sarojji who gave me my dance style and taught me how to emote while dancing. All those expressions you saw in Nagina were hers - I just copied them."
You know, the Charlie Chaplin episode was supposed to be just one shot when we started out. But it gained footage because it worked so well and Shekhar decided to turn it into an entire episode. He obviously knows what will click!
The producer also contributed to making this a good film. And I'm not saying that because my husband (Boney Kapoor) produced it! The concept of making a film about an invisible man was really novel those days. It took guts to make a big-budget commercial film of it. Not only was it a gamble, it was also a challenge for the producer and I appreciate that.
Though this may sound hard to believe, the way Anju and Manju dressed or behaved wasn't thought out at all. In fact, nothing was planned. Everything was spontaneous, including some of the dialogue!
Roshni was the only character I really worked on. I was fully involved in deciding her look and characteristics because the story called for many different moods. When Roshni goes through the customs, is caught and lands up in jail, there had to be a vulnerable quality about her. Then there was the traumatic scene in the hospital when her mother dies. Mahesh Bhatt guided me through it all. I can't recall going through any heavy-duty discussions ont he sets but I do remember that my performance was all thanks to the director.
Sridevi spoke to MEERA JOSHI
Balu Mahendra is a great director who is very clear about what he wants, so there's no time wasted in discussions on the sets. It's great to work with people who know exactly what they want.
Nagina (1986)
I've worked with many directors but director Harmesh Malhotra is one of a kind. He's so sweet and understanding. If I as much as said I wasn't feeling well, he'd promptly cancel the shooting.The credit for the success of Rajni's dances in the film goes to Sarojji (Saroj Khan). She gave me excellent dance steps to execute and I'm 100 per cent sure that the film would not have been a hit without her dances.
Incidentally, everyone thinks I'm a good dancer but aisa kuch nahin hai. I've never undergone any formal training in dance and whatever I know, I've learnt on the sets. It was Sarojji who gave me my dance style and taught me how to emote while dancing. All those expressions you saw in Nagina were hers - I just copied them."
Mr India (1987)
Again, a director's film. Seema Sohni turned out exactly the way Shekhar Kapur had envisaged. And Shekhar has the ability to make even the most mundane scene look interesting on screen.You know, the Charlie Chaplin episode was supposed to be just one shot when we started out. But it gained footage because it worked so well and Shekhar decided to turn it into an entire episode. He obviously knows what will click!
The producer also contributed to making this a good film. And I'm not saying that because my husband (Boney Kapoor) produced it! The concept of making a film about an invisible man was really novel those days. It took guts to make a big-budget commercial film of it. Not only was it a gamble, it was also a challenge for the producer and I appreciate that.
Chaalbaaz (1989)
The film wasn't so much a story as a bunch of gags strung together. And that's what all of us worked on. The atmosphere on the sets was always full of fun and laughter and that was essential to ensure that the scenes looked natural and effortless.Though this may sound hard to believe, the way Anju and Manju dressed or behaved wasn't thought out at all. In fact, nothing was planned. Everything was spontaneous, including some of the dialogue!
Gumrah (1993)
After Boney Kapoor, if there was one producer I enjoyed working with, it was Yash Johar. He was a wonderful man and an excellent producer. Much as I liked Yashji, however, I was in two minds about working in a film directed by Mahesh Bhatt at that point because he was doing five films simultaneously. I wondered how he'd concentrate on my film, whether he'd be able to devote enough time to it. But I was wrong. He was fully involved with Gumrah.Roshni was the only character I really worked on. I was fully involved in deciding her look and characteristics because the story called for many different moods. When Roshni goes through the customs, is caught and lands up in jail, there had to be a vulnerable quality about her. Then there was the traumatic scene in the hospital when her mother dies. Mahesh Bhatt guided me through it all. I can't recall going through any heavy-duty discussions ont he sets but I do remember that my performance was all thanks to the director.
Sridevi spoke to MEERA JOSHI
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