Exclusive Interview with Aishwarya Rai Bachchan | Anupama Chopra | FC at Cannes

This is a business, you know, this is an industry and a very, very strong, powerful industry in terms of the economy of it all, you know. We women do belong. We exist. We make our mark. We contribute very, very strongly in all the aspects of filmmaking. Movies are just about an experience and either you enjoy it or you don't. Aishwarya, it's always so lovely to see you in Cannes and you look spectacular. Thank you. Well, Valentino did all this, so yes, it's all come together and yeah, I'm bringing in a bit of the dazzle. I love it. And speaking of dazzle, congratulations on BS2. Thank you. How dazzling were you? You were amazing. That one scene just with you and Vikram has not left my head since I've seen it. And I have to start by asking you, A, why aren't we, as in Hindi cinema, offering you these roles with such complexity, such depth and look at what you brought to it. Look at what you did with it. How sweet that question is to put that away. No, but why? I just, you know, I mean, my God, look at this. Why? Well, that's a silent question I think everybody normally ends up asking, right? All creative people. You're always looking for, when something turns out so good and just feels so right creatively for the people working on board as well as for the audience, eventually cinema is made for the audience, right? And then that's the response it evokes. I think one of the most beautiful and the most rewarding moments is when questions like this arise as to why not more works like this, whether it be for the actors, for the leading ladies, if that's your direction of question. And I know it is because you, Anu, do always raise these questions, which is great because it's the voice after our hearts, right? So there's a reason. There's a reason why we salute directors like Mani and the work that directors like him. I mean, him, of course, and there are maybe a few, maybe a many. That's a matter of perspective. But there are directors who do create work like this. And that's why it's such a pleasure for us as artists to work with them and to come away with the results like this, movies like this, where we are proud of the work we have done. We feel immensely satisfied during the creative process. And then, of course, with the reaction, the response of the audience. And, you know, Poni and Selvan has definitely been immensely satisfying for all of us. And we are so grateful and so, you know, overjoyed in the superlative with the response that it has evoked from the audience. So we are very, very grateful and very thankful and very happy. I have to ask, and I know we've talked about this before, but how is he able to tap into something that really not many other makers can? What he does with you from Iruvash. You know, there's something, there's some magic. And what was amazing to me is I remember the interview we did for the film. I think Trisha said that you're actually on the set with the notebook. That's for the dialogue. That's for. I mean, I don't know if she assumed this note taking. They all know that's for the dialogue because it was in Tamil. And I mean, for me, it's still Tamil dialogue. I'm writing dialogue and learning dialogue in another language. But even for the Tamil actors, the Tamil speaking actors, for them, they were saying that this Tamil is way more difficult than the regular Tamil. So, you know, it. But for me, it was a language, nevertheless, which isn't my first. And it meant learning my dialogue really quickly because, you know, we're there at three in the morning and there's so much work to be done every day. So that's why. I mean, I'd be with my notebook all the time because it's like. And, you know, money because he's worked with me so often, he'd be just like, you can do it. And I'm like, you know, you're just changing a scene around. You're like changing dialogue around then. And they're tweaking it as you naturally would as it as a director's right on a set on set. And it means a complete rework. And, you know, relook at me in terms of for me, in terms of how I'm going to, you know, now play the dialogue out. And I know what I'm saying. It's not just words for me. I mean, I actually know what I'm saying. So I would be writing my dialogue out and probably that's why I constantly look like a student at work on set. But that's so lovely. Aishwarya, what can you tell me about L'Oreal's Lights on Women Award? How do you think it's helping to create a more sort of equitable space for women? This will be an ongoing discussion that you and me will have probably for several years. But I think it's an incredible beginning. Like like we spoke last year that, you know, ideally that there shouldn't be reason to have to in an ideal world to have to try so hard and work so hard, where we collectively have to work at bringing attention to the fact that there is that we women do belong. We exist. We make our mark. We contribute very, very strongly in all the aspects of filmmaking. And this is a very, very strong step and a positive step amongst many that we all, again, I repeat myself, collectively are taking in doing in shining the light where it deserves to be. And I applaud L'Oreal for beginning this. And it's the third time, the third iteration this this year, where according the recognition to to to a to a lady, to to to a woman who is obviously making her mark in short films. And I think it's fantastic where L'Oreal has been collaborating with the Cannes Film Festival for 26 years now. And it's been such a powerful, positive association. But being the brand that that walks the talk, that when we when we say we're worth it, you're worth it. I'm worth it. We all are worth it. You're you're you're actually bringing more meaning in to this collaboration as well, where it is about the world of cinema and it is about cheering on for the empowered woman. And I think it's it's brilliant how L'Oreal says it's about being feminine and feminist. I think it's it's great because this sounds like perfect wordplay. It's genuine. It has meaning and it's rooted in truth that at the end of the day, if we together, you know, stand by women and work towards strengthening her empowerment, so be it. Let's take that step. And if this is what it takes, then this is also one such contribution. And it's wonderful that it's been received wonderfully, positively. Women in cinema feel encouraged to to participate and to also have their work applauded, to receive the support, to be able to go forth and, you know, achieve more in their creative pursuits in cinema. You know, it's been such a stellar year for Indian cinema with the two Oscars, with all the acclaim on the global stage, but you've been here from the beginning. OK, you watch this curve sort of move up with you. You've been like logging it all along. What's your take on it? What's your sense of where we are now? I don't analyze. I don't overthink. I think we're just proud of reactions and the response that we've managed to evoke. We're proud of. I don't like saying the noise we're making because it's not about the noise you're making. It's actually about the reaction and the response we're working. You're you're finding your audience. People are paying attention. People are being appreciative. They're recognizing talent, which continues to grow. And that's always a good thing. So when when there's so much positive happening, it's reason to be to celebrate, to applaud the talent that's that's made the effort. And it's very important to recognize and encourage, because what tends to happen is people just try to begin to overanalyze and then start beginning to gradually from there, the next step is beginning to pull it apart. You know, the peeling begins and then you start pulling apart and then you begin to wonder. And you're trying to look for reasons for a repeat act. But it's never about a repeat act. It's about the next original moment. And that's what it should be. And I think that's that's that's a search. All true creative artists are are keeping on going. That's what makes this place so magical and enjoyable and the entire process fresh. It keeps it fresh forever because it's always a new beginning. And if that be the attitude, I mean, that's mine. And a lot of like minded people have worked with. I think that's what makes it forever new. You know, and you always have a childlike wonder about a magical world of cinema. There's so much to learn. There's so much to discover. If that wonderment is kept alive, that intrigue, that search, that that childlike willingness to explore and to find something happen. It'll always be a magical experience for us and eventually for the viewer. But how do you do that, Aishwarya? How do you actually keep this wonderment alive? Do you have to nurture it? Because, you know, you've done this for 25 years and there is you. You know, you're at the top of the game. There's nothing left to prove. People have been very, very kind and generous and loving. But genuinely, there's there's nothing sort of that. Oh, but I have to take this up. You've you've done it. You've done it all right. Including because my attitude has never been about I'm going to take this off. We're going to take that off. Or, you know, I I've never listed. I've never made these lists. I've never overthought it all out. You know, I mean, I'm not saying remotely frivolous about it. But at the same time, you just know you have to be you have to listen to your inner voice. And there are times when you you make choices, not for just the creative reasons. And and it reveals itself, you know, when when you make choices for other reasons, you know, you knew all along and it comes across. Sometimes it doesn't. But most times it does. And no one's such a good actor to disguise that. But but everybody is so so to to the keen eye, you pick it up. Sometimes people just think, oh, wow, you know, even even this was a choice made or or it was a flight of exploration or whatever else. I mean, like I said, it's all about the eye and about the mind that kind of gets gets who you are or, you know, is either invested in you and your journey or is invested in the craft itself. But to many, it's the movies are just about an experience. And either you enjoy it or you don't. And and to most, actually, it's not about overanalyzing. How do you enjoy a film and you felt good seeing it when you came out? Many don't want to go and live with it. Many just want to want to enjoy that moment for what it was. So so you you need to be open minded. We all need to be the actors, the makers, the the the critics, the the analysts, the audience. The magic of the world is that it it draws you in and you surrender. You want to be drawn in and you just want to be in that moment for what it is. The point is to to have that shared experience, the maker and the audience within that space. And when that clicks, it feels right. That's just what it is. It's it's it's very simple. It's all about the feel of it. It's not. But a lot of thought should go into what we're doing. At the end of the day, there are so many people who are blessed to have this passion for a job. But it is a job. It is it is a career choice made. It is it is it involves professionals and and the world that doesn't belong to the creative process needs to recognize that, too. They know it. They need to attribute that that credibility. And they do. And some of them don't get it, but they should. So that's just what what it is all about. And there's no real formula. There is no notebook. There is no rule book. There's none of that. At least that's what there's no list either. Yeah, that's just feel that's what I feel I've experienced. But but, you know, you you're I think we're all seeking directors as us are seeking artists who who will feel invested in their dream, in their vision. Many of us are looking for directors who are truly invested in in the creative process, in creating that that end product and and all the way to the finish line. I mean, to the point of, you know, because many a time you you hear of sometimes you experience it and you hear of where, you know, so many teams are trying to meet that deadline. And because it is a business and there are all these other factors that kind of play into. And that does that does that does have an effect on the final product, which is a shame. And you see that happening and you feel so bad for that, that that is that has taken over and that has kind of played its part in the final product. As creative people, you wish one could just, you know, completely push that aside and do away with it. But then you have the financial people come in and say, but that does play a role. You see that that's that's an intrinsic part of the fact that this is a business. You know, this is an industry and a very, very strong, powerful industry in terms of the economy of it all. You know, so they're just all different facets and factors that eventually contribute or play into the final product. And it's really the tenacity or the resilience of the maker eventually to be able to kind of literally captain that that ship, you know, see it through. Absolutely. Yeah. You know, I saw a photograph of you and leaving, I think, day before yesterday at the airport. And I remember those years when you would come with your mom and you told me about taking her to the carousel on the crosshead. And she's as tall as you. I know. What does she take away from the experience? Oh, wow. Isn't this a question that she should be answering at some point in time in her life? I guess she will. And that's when we know really what what she takes away from it. You know, it's it's it's really about just being together and it's familiar to her. She knows everybody here. It's like it's really about like reuniting with friends and, you know, coming back here to Cannes. And it's an experience that's so familiar to her. So it's she's a lot like me in that sense that we're we're people's people. So it begins with that. She loves the play. She loves the vibe. She she I'm sure gets the fact we haven't over discussed this, but I'm sure she gets the fact that, you know, this is this is really a film festival. It's really about the world of cinema. Naturally, that's that's the exchange of a conversation. Your daughter was here and you know, that's the exchange you'd have with her in conversation. And it's wonderful to see in our kids that that there is that respect. There is that recognition of this amazing world of cinema. And and it's I'm sure it's all getting soaked in. Yeah. Yeah. It's wonderful. We're always fantastic to see you. And we need more like Nandini. Oh, thank you. Yes. Is everybody listening? Right. Right. Right. Go right. Like like really go go at your writing and your creative skills. And it would be great to have so many wonderful characters like like Nandini to essay. Thank you. Thank you.