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‘The problem begins when cinema is reduced to box office numbers': Shoojit Sircar

The filmmaker, whose latest release 'I Want to Talk' stars Abhishek Bachchan, on his knack for finding magic in the mundane

Giving us gems like Piku, Vicky Donor, and October, Shoojit Sircar’s work has always stood out for his extraordinary ability to tell simple, heartfelt stories that resonate deeply with audiences. Known for his unhurried storytelling and knack for capturing the beauty of everyday life, his latest film, I Want to Talk, starring Abhishek Bachchan, continues to embrace this simplicity while exploring the complexities of emotions and relationships.

In a candid conversation ahead of the release of I Want to Talk, the filmmaker shared his inspiration behind the film—drawn from a friend’s life—how Abhishek reminded him of Jaya Bachchan’s quiet charm, and why he believes cinema should remain free from box office pressures.

From shooting films on a tight budget to experimenting with animation and celebrating life’s silences, the filmmaker remains committed to telling stories that are honest, relatable, and refreshing—reminding us why his work always feels like a gentle pause amidst the noise of mainstream cinema.

Edited excerpts from an interview:

Q. When one watches your filmography, it becomes evident that you are in no rush to tell your story. You don’t try to impose an artificial pace on the plot; everything seems to unfold organically. Where does this patience as a filmmaker come from?

From my perspective, I think it all comes from my documentary background. So, I normally don't call my films as ‘films’, I call them ‘documenting life situations’. When you're documenting a life situation in a very realistic way, it has its own space, its own pace. So, you're absolutely right that in those situations, when you're documenting relationships or when a person is going through certain emotions or adversities, you need to have that space and pace. Sometimes, silence speaks volumes. I'm absolutely not in a hurry.

Q. Documentaries allow more liberty to stick to what's true, but in mainstream Hindi cinema, there are commercial requirements. How do you strike that balance?

See, at the beginning of my career, I made compromises to adapt to that system. But now, I feel a certain freedom. I wouldn’t say I’m fearless—I’m fear-free in that sense. I’ve decided to make films that I like, with my own pace, my own style. If I make something that doesn’t align with who I am, and if the film turns out to be something else, I won’t be true to myself. I want my audience to know who I am as a person through my work. That’s why I’ve chosen to make films that resonate with me, rather than conform to conventional norms or requirements.

Q. Is that why you find magic in the mundane? You’re not afraid to depict the very ordinary aspects of life in your stories, which many filmmakers shy away from.

Yes, because in life, everything should be seen with awe and wonder. If I lose that perspective, then life loses its beauty. For instance, why would it rain in Dubai, or why would there be snowfall there? You’d look at it with curiosity and think, what’s happening here? Life is unpredictable, and it’s important to keep that awe and quest for wonder alive in everything.

Q. Is that also how you are in your personal life?

Yes. I go to the market every day; I pick up my own vegetables. If I don’t have my car that day, I’ll just walk or take a rickshaw to my office. My life is very ordinary, and I like living it that way. My daughters often tease me, saying, You don’t dress up properly. Especially now, when I’m doing interviews, they’ve told me to dress well. Now they’re ruling me, so I have to listen to them!

Q. Do you consider yourself a risk-taker as a filmmaker?

No, I don’t think so. Risk comes when you’re spending huge amounts on a film. If your costs are under control and you know how to manage production expenses, where’s the risk? For instance, [I Want to Talk] was shot entirely in the US. If someone else had shot it with Abhishek [Bachchan], it would’ve been impossible to do so on our budget. But we managed it because we kept costs in check. If you’re not overspending unnecessarily, there’s no real risk.

Q. Tell us more about this film. What inspired you to dive into this story?

I Want to Talk is based on the story of one of my friends. I started speaking with him around 2020, and I found something beautiful in his journey—how he turned his life into something special. The way his relationship with his daughter grew over time was especially moving. Often, as fathers, we think we’re communicating clearly when we’re not. Feeding your child, telling them to sleep, or dropping them to school isn’t enough.

There’s another concept that struck me deeply: the time we spend away from our children as working parents. When we’re at work, we’re actually stealing time from them. I thought that was a very profound idea to address. Additionally, the story touches on resilience—how not to give up during life’s adversities. It’s about a simple journey, which I’ve tried to document in my own way.

Q. There was a comment on the trailer that described the film as a “breath of fresh air” in Indian cinema. With the dominance of action-packed, larger-than-life films, why do you think this sentiment resonates so strongly?

Maybe it’s because when we overdo something, even a slight change feels refreshing. Cinema shouldn’t always follow trends or norms—there should be a quest for originality. The problem begins when cinema is reduced to box office numbers. I’ve told my producers and even the media that I don’t want to discuss box office figures. That’s not my department. If you know your mission in life, your mission in filmmaking becomes easier. Perhaps that’s why people feel this film looks fresh.

Q. You’ve created magic with Mr Amitabh Bachchan in the past. How was it working with Abhishek [Bachchan] in this film? Did you see any similarities with his father?

I’m absolutely amazed by Abhishek. He completely surprised me with his dedication and love for the craft. During the shoot, I’d hug him tightly after every shot. What I saw in him was a beautiful, vulnerable warmth. It reminded me of Jaya ji [Jaya Bachchan]. Her subtle gaze, silent presence, and vulnerability were reflected in Abhishek, along with her charm. Nobody talks about it often, but Jaya ji was one of the finest actors of our time.

Q. In this film, we see contemplative shots of open skies and long journeys, which seem to be recurring elements in your movies. What draws you to such visuals?

I follow the story’s narrative. For example, the cinematography in this film is colourful and fresh because I’m dealing with medical conditions, and I wanted to portray life with happiness, humour, and colour. Life is colourful. I do approach visuals in a contemplative, immersive way. If you look out a window and see a beautiful scene, I can’t describe that feeling to you—you’ll have to experience it for yourself. I try to capture that in my films.

Q. Speaking of visuals, you also did an animation film recently called The Light, which is a biographical devotional film that delves into the life of the founder of the Brahma Kumaris Spiritual Organisation. What inspired you to experiment with animation?

That project came to me through Mr Harilal Bhanushali, who is the producer of the short film. I spent time in Mount Abu, interacting with the Brahma Kumaris team, including Sister BK Shivani. I’ve always been interested in the intersection of science and spirituality, and this was a great story to explore that. So, I wanted to contribute to executing the film for the organisation.

Q. Would you consider bringing animation into mainstream cinema?

Absolutely. Hollywood has shown us how animation can be as powerful as live-action films. With AI, it looks incredibly lifelike now. But most importantly, it’s about the emotions you convey. I would love to experiment more with animation in the future.

somya@khaleejtimes.com

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