Aamir Khan gets talking about the genesis of wife Kiran Rao's Dhobi Ghat, his association with it and how he almost never did the film

And to think Aamir Khan was worried he wouldn't like his wife Kiran Rao's script for Dhobi Ghat! AK eventually had to slyly wriggle his way into the film and convince his biwi, the director, that he had to be in the film. He recounts his fears, apprehensions and his experience of working with female directors.

What excited you most about Dhobi Ghat as a producer and as an actor?
I loved the script. When Kiran first told me she was working on a script, I was nervous. One day it would be ready and what if I didn't like it? Nothing about the cast was discussed at that time. Finally, she said 'The script is ready and you can hear it'. I told her. 'Let's go to Coonoor.

Mansoor has been calling us for a long time, he and I will hear it together.' I thought that if he didn't like it, and I didn't either, it would be easier on me. Mansoor, his wife Tina and I listened to the script. And from the first scene itself, the script grabbed us. I loved the characters and the way she wrote the script.

It was very fine writing and I was really impressed. One of the signs of a good writer is that the characters all speak a different language. I found the script very moving. All three of us loved it. I was looking at her with new eyes.

That's when you decided to produce it.
Yes, after hearing the script, I said I was happy to produce it. When it came to casting, I really liked the role of Munna, which Prateik is playing, but it is the role of a young boy in his twenties, so there's no way I could do it.

All the four are equally important but that's the role that's really author-backed. I even told Kiran, I'd really love to play Munna, but that I was not the right age. She said, 'Why are you discussing all that? I am not offering you the film or either part.' And I went 'Oh'. She didn't want me for various reasons.

You've worked with a lot of first time directors, how was this different?
In that sense, it was not different. All the first-time directors I've worked with have been very focused and passionate. So was Kiran. Her strength is that she is extremely clear about what she wants, she knows how to get it and doesn't compromise till she's got it.

She is very good with people. And filmmaking is all about how you inspire people, make them feel good about themselves, so they come out with their best, whether it's actors or technicians. Her energy is positive and it bounces off those around her.

It's a female thing, no?
No. Aisa kuch nahin hai. I don't think so. Raju (Hirani) has a great energy as well. It's a personality thing. That's Kiran's strength her ability to connect with people and she is a great writer.

She also comes with a very fresh approach to cinema and filmmaking which I find very refreshing. The kind of point-of-view she has and the kind of sensibility she has is very different, that's why the film is different. She believes in the detail.

How involved were you with the film besides being an actor?
I was involved with the film like I am with all my films. I was producer as well, like any other film.

What are the advantages and disadvantages of working with your spouse?
(laughs) I have to say it was very smooth like a dream, except Day One. On the first day, when I was shooting, I felt that Kiran was just not bothered about me. She was bothered about everyone else except me. She was taking me for granted. So after four hours I was like, 'Is this how the rest of the shoot is going to be?'

So you loved the experience of working with "Kiran"?
I really enjoy working with her, she is a great director, she is a great partner. When I heard the script, I fell in love with her again. I was already in love with her, but I didn't know she had such talent, such a unique perspective on things that she brought out in the script.

That which I experienced when I heard the script, I experienced again when we made the film. She was totally in control, as an actor I was totally comfortable trusting her. When she says, 'No, I don't want this, ' even if it is something I am telling her, I know I can trust she is taking the right decision. So the way she was in control of the set, of her actors, of her technicians.

So you won the creative arguments?
That depends. See, the director always wins the creative arguments. Even if he agrees with you, he or she has won the argument. Because the director is only concerned with what is good for the film.

Whether a spot boy or a DoP or an actor or a guest tells him that. A good director says, 'Yes, that's right, we should take that advice.' When a director decides to take that advice or suggestion, it becomes his decision. So I always believe that the director wins that argument, whether he agrees with you or disagrees with you.

All your first-time directors have done a good job with you, but their second film has not hit the mark. Do you think Kiran will bear the burden of that?
I don't think that's entirely true.

Everyone thinks this director has done a fabulous job and then after the second film, they realise it was you after all.
That's totally untrue. I want you to know that all the directors I've worked with are people I think are very talented. Otherwise, I would not have worked with them. And what they have made with me is something that has come from within them, whether it is Rakeysh Mehra or Farhan or Ashutosh Gowariker.

I am not saying I don't have the contribution as an actor, but none of these films have been directed by me. Filmmaking is not an easy job, sometimes you do it well, sometimes you don't do it well. It happens to the best of us. So it's got nothing to do with that. Maybe there next film was not that good, but it's got nothing to do with me.

So people will still wait for Kiran's second film.
That won't be a problem, but it will be up to Kiran.