In a recent conversation, filmmaker Dibakar Banerjee shared his perspective on the prevalent trend of Indian actors being frequently typecast, expressing his sense of ennui with this practice. When asked about the possibility of a collaboration with Shah Rukh Khan, Banerjee indicated that it would be improbable, citing the perceived disinclination of the star to undergo a three-month workshop. The director also delved into the evolution of the term 100 crore club in Bollywood.
Dibakar Banerjee explains why he is hesitant to work with Shah Rukh Khan, Ranbir Kapoor, and Ranveer Singh
In a recent episode of the podcast Unfiltered with Samdish, Dibakar Banerjee shared insights on the ‘style of the star system.’ He hypothetically remarked, “If I tell Shah Rukh that we need a 3-month workshop, he’d say, ‘I’ll just come,’ and then not return. The star system means I’m a star, doing a scene with you, but aware that 150 crores is at stake. This awareness in every scene, all stars do it. Now, I find it a bit monotonous.”
When questioned about whether Ranbir Kapoor and Ranveer Singh adhere to the star system, Dibakar Banerjee concurred, stating, “Totally.” He also expressed his keenness to collaborate with Rajkummar Rao, praising him as a highly talented actor. It’s worth noting that the two had previously worked together on the film Love Sex Aur Dhokha.
Banerjee clarified that when referring to stars like Shah Rukh, he wasn’t focusing on their level of stardom. Instead, he meant individuals with a specific mindset or a cultural connection directly with the audience, irrespective of the film itself.
Dibakar also discussed the impact of the 100 crore club on independent films, which gained popularity around 2010. He recalled that while working on Love Sex Aur Dhokha (LSD), he first heard about the concept of the 100 crore club. It marks an intriguing chapter in cinema history, where the notion of informing the audience that a film has crossed the 100 crore mark emerged. Dibakar remembered telling Anurag at that time that something was changing, and it seemed as if there was a narrative suggesting that audiences should prioritize mainstream films because they generate more revenue, sidelining independent films.
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