I wasn’t aware that audience turnout had gone up, I enquire with some sarcasm.
“No, it’s came down. But there has been a shift in the past two years,” he says. “Teefa in Trouble is nothing without action. The comedy worked because of its action. It’s a masala action movie.”
Isn’t that what we’re making most of the times anyways — masala, comedy, actioners, I counter-argue. I know the answer, of course; these are safe investments. A bang-for-the-buck combo of action and comedy. Incidentally, it’s the same genre you may see Bilal in next year.
One of the scripts that has caught Bilal’s fancy is a comedy-actioner written by Mohsin Ali, the screenwriter who wrote 2015’s Wrong No. and who also wrote and directed Chhupan Chhupai (2017), and is being produced by Hassan Zia (Wrong No., its sequel Mehrunnisa V Lub U).
The film may be directed by a first-time filmmaker, but that’s okay as far as Bilal is concerned.
“People ask me why I work with new directors,” Bilal adds by himself. “It’s because I was new once, and it’s only fair to give someone new a chance.
“You can pick a great director and a great cast, and the film may still tank. And you may pick a new director and still deliver a hit. Films are a gamble, they will always be a gamble. You can never guarantee box office success. You can minimise the risk with a good script. Good content will speak for itself, if it is made with the right neeyat.”
There’s that spiel about neeyat again. Bilal is all about good intentions these days. But he thinks he is better prepared to try out more challenging genres now.
“There were certain things missing in my arsenal. In the past year, I’ve learned the value of doing theatre rehearsals,” he says. It will now be a firm part of any film he does, he says.
Irrespective of who the director is? I ask, knowing full well the theatre bug was nurtured by the experience Bilal had with his last director, Muhammad Ehteshamuddin who has a theatre background.
“I don’t care who the director is,” he explains. He feels that, even though the director is on set, preparing oneself beforehand in a theatre-like environment, or doing a workshop specifically for the role, helps him with his performance.
“[Irrespective of who the director will be], I would work on myself. I have my lines rehearsed, I have my emotions set for scenes. Aap khul jaatay ho [you open up]. You’re more fluid. You’re more comfortable in your character. A 15-20 day workshop really helps. So it helps me and if it helps me, it helps the director as well. That’s what I will do, regardless of who the director is.”
Jumping from stories, screenplays and directors, we naturally progress to leading ladies. I know there are a few Bilal wouldn’t even dream of working with. Then there is Mahira Khan.
“If you do not share that energy with your co-star, then it’s nothing. I even told Mahira that she spoiled me,” he says.
“There are some good actresses I would like to work with,” he adds. “There is Mehwish [Hayat], Saba [Qamar], Kubra [Khan].”
As we get up to leave, I shoot one last question at Bilal.
With a career of highs and lows, he knows the value of delivering a hit and riding the wave. But what happens after that? What are the things he is scared of? Is there a subconscious fear of the past repeating itself?”
“No,” Bilal answers. “Darr ka kya karna? Darr kay rahogay to kya karogay [What should one be afraid of? If one is scared, one will not be able to do anything],” he responds.
As he drives away in his big white 4x4 vehicle, I can see the transition in Bilal Ashraf. He’s a ‘Superstar’ whose entire world has turned upside down by one career-defining film. It made him fall in love with the film world again, as if it were the first time. Now, he just wants to take one cautious step at a time, growing, maturing with Pakistan’s film industry. That’s his neeyat anyway.
Published in Dawn, ICON, December 22nd, 2019