I’ve read the Mahabharat and am greatly influenced by it. I like to concentrate on the films I am working in, and I don’t like my attention to be divided on a script narration of a film which I have decided, I will not be signing till my earlier lot is nearing completion. I explain that to producers who approach me and I tell them, whenever I am ready to sign a new film, we would get back to them. When I don’t want to sign a film, I don’t listen to scripts because there’s no sense in that. I either call back personally or have my secretary convey my reply. (Gets up to show it.) See, every telephone message is noted down for me. You must have a look at my message diary. I don’t know how you have got this feedback. There’s a general impression that you don’t give proper response to producers who approach you for signing you. A director should make what he feels strongly about. Romance excites me, powerful social themes also excite me. Since direction is not on my mind for the present, I haven’t thought so seriously about it. What kind of films would you like to make? When I do direct a film, I won’t be acting, at least not during the period my film is on the floors. I feel, I’ve still got to prove a lot and learn a lot. I will definitely turn a director but not for three more years, at least, because I’m committed to my acting assignments. When I do a job, it is important that I must have the satisfaction of doing it well. Distribution is not an easy job, it also requires total involvement and devotion. And when I do get down to working, I get involved completely. Otherwise, I can’t think of having a full-fledged office because I’m one-track minded. The Morani brothers and Raj Santoshi are my friends and secondly, Damini was a good social film which I was backing from outside. I was a partner in the Bombay distribution of Damini but that was for different reasons. When you are so business-minded, how is it that you haven’t started a distribution office like some of the other artistes?
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