Mitakshara Kumar: Male directors who’ve made just one show get four times more money than me – Exclusive – Times of India
Your directorial series The Empire on Disney+ Hotstar has received accolades and nominations at the Filmfare OTT awards recently. How does it feel?
I feel honored that it’s my first work and it has got so many nominations. We made the show during COVID. To pull off a show like that during the pandemic with so many restrictions and then for it to get the love that it got from the audiences, is humbling. I did not expect so much from my first show.
How did you get the opportunity to direct The Empire?
It’s a story of destiny. My husband acted in a TV series POW by Emmay Entertainment. As his wife, I got to attend the wrap party where I met Monisha Advani who asked me what I do. I was assisting Sanjay sir (Sanjay Leela Bhansali) on Padmaavat. She said that she liked my vibe and that sometime in the future we will work together. This was January 2017.
In November 2019, my husband told me that I’d get a call from Nikkhil Advani. So, I got a call from his office saying Nikkhil Advani wanted to meet me. That time, I was assisting Sanjay sir on Gangubai Kathiawadi.
Go on…
I went and met Nikkhil Advani. The Empire was called Mughals at that time. He (Advani) told me about the show and said that he wanted a woman to direct the show and I had already worked with Mr. Bhansali on period films. He asked me whether I would like to direct the show. I said, “It is too big a show for a new director. But if you back me and support me then I would love to do it.” It was a very big break as it was for Disney+ Hotstar. He said that he’ll be there to support me. And then I got to know that Monisha had mentioned to him, “You know Anurag’s wife we met at the party. I don’t know her name but she left an impression on me Nikkhil. So, why don’t you meet her.” So, that’s how I got the chance to direct The Empire.
How did you land the opportunity to work with Sanjay Leela Bhansali?
I was working on a film with Onir and I got a call from a classmate from FTII. Everybody from my class at FTII knew that I wanted to work with SLB. I joined FTII after watching Devdas. I was an Economics Honors student who wanted to work in World Bank. I watched Devdas in my first year in college. And I said, “Oh my god! This is what I want to do.” I had no idea what FTII was. My teacher told me about the institute. Bhansali is God for me. So, a friend of mine called me and said, “You always wanted to work with Bhansali. A friend is working with him and he is looking for an associate director. Will you be interested?” I told him, “Are you kidding? I will drop everything and come.”
I went and met Bhansali sir. At that time, I was working on a film. He told me to complete that film and join in January for Bajirao Mastani. I called him in January and got to know that he did not need me anymore because his previous ADs had joined him again. I felt that that was the end of my dream but at least I got to meet my God. But after two months I got a call from their EP asking me whether I could join the next day. I said yes. Then I called my father and said, “Do you know whom you are talking to?” He said, “Yeah, you.” I said, “No. You’re talking Sanjay Leela Bhansali’s associate director.”
People say that it can be difficult to work with SLB. How was your experience?
I used to hear those stories ever since Saawariya. But when I met him, I asked him, “Sir, if you shout at me then how can I do my job?” He gave me a nice answer which is so true and I have observed it in him during the eight years that I have worked with him. He said, “My films are my babies. I give everything to them. And if somebody tries to do something wrong to my baby then it will obviously anger me.” I have had a wonderful time working with SLB and that’s why I have been associated with him for so long. He is family to me. And I think I am like family to him. I have been very lucky. Of course, he gets upset when you don’t do the right thing on set. And he has the right to do so. But I love working with him. I am directing Heeramandi with him now. When The Empire was offered to me, I was working on Gangubai Kathiawadi. I was supposed to be the associate director on it. I asked sir, “You tell me what to do.” And he said, “You’re getting to direct a whole show. This is your time. You must do that. This is your home and its doors are always open to you.”
After The Empire, he called me back home for Heeramandi. And I went back.
Does a female director look at scenes differently than a male director?
I don’t think so. I am a woman first, then a director. Sanjay sir, Imtiaz Ali, Zoya Akhtar create such beautiful female characters. Zoya creates beautiful male characters also. I don’t think the gender plays any part, at least not consciously. Maybe we see things differently. Maybe a woman writer or directoe brings more empathy to a character through her observations.
What was Nikkhil Advani’s brief to you on The Empire?
Nikkhil is a very supportive producer. He told me to bring my vision and that he would give me all the support I needed. Nikkhil, Monisha, and Madhu (partners in Emmay Entertainment) all supported me throughout the making. I was stuck during the war sequences. Nikkhil helped me with that. I was unsure during the action sequences because I didn’t think the action was my genre before The Empire. So, all three of them were my silent pillars of support. They do everything for you without making you feel that they’re doing it for you.
You’ve directed a music video for Bhansali’s first music album.
Sanjay sir made the first music album of his life and for him to trust me with the direction of its music video was a big thing. Shooting a Sanjay Leela Bhansali composition is also a great pride – for him to give his baby in your arms and trust you with its execution. That’s the biggest validation a student can ask for.
What were your observations about Deepika Padukone, Ranveer Singh, and Alia Bhatt when you were assisting on their films with SLB?
Whenever I had a break from The Empire, I would go on the sets of Gangubai Kathiawadi to assist sir. One thing common between all three aforementioned actors is their level of dedication. They are so down to earth; they don’t have airs about them. They come on time and deliver no matter how many takes the director asks for. It’s difficult to pick one among the three but if I have to then I’d pick Ranveer. We are going to do Baiju with him next. It will start after Heeramandi. It also has Alia in the cast.
What is your take on freedom of expression in historical films/series?
History is history. If we try to rewrite history, then it’s sad. I completely agree that people are scared to tell what had happened in history. Even before The Empire was released, people had rated it on IMDb as 2 stars without watching the show. Because the trailer was out and a character said, “I’m Babar.” So, people got to know. Before the release, #UninstallHotstar was trending on Twitter.
We never showed Babar as a hero. Babar invaded India and we showed it like that. He had beaten Ibrahim Lodi to conquer India. We can’t change that history. People don’t even see what you are trying to tell. The kneejerk reactions have increased significantly.
Have you felt men on a film set have problems taking orders from you?
I have not faced that. I have seen people giving their everything to the work. I have not faced problems with my crew. It used to be the case earlier when I was an AD. This is 2004-05 I’m talking about. That time it was a little difficult. Since I have become a director, people have been very accommodating. If you treat them well, they will treat you well.
But the one place where there’s a bias is when it comes to payment. I know for a fact that my male counterparts who have done one show like me, are getting four times more than what I get. I just don’t understand how we haven’t reached gender equality in payment. It is a deep-rooted mentality in the 1950-60s when women were homemakers. They take women for granted in that sense. But women also feel a little hesitant to ask the price that we want. That’s ingrained in us.
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