Anurag Kashyap didn’t come to Kolkata to share his wisdom or announce the future of Indian cinema. He came for a panel because he liked the people on it. At the AMI Arts Festival held at KCC, with Sudhanva Deshpande moderating and Alankrita Shrivastava, Anjum Rajabali, and Swastika Mukherjee on stage, the conversation stayed messy, opinionated, and refreshingly unmarketable. Anurag spoke about learning through watching, why he distrusts being “taught” cinema, and why festivals like AMI matter.
In a conversation with Indulge, Anurag was where he’s most comfortable: arguing, contradicting himself, praising other filmmakers, dismissing legacy, and admitting he still doesn’t like being asked questions—because he answers them too honestly. Excerpts:
You’ve been part of many festival panels. What brought you to AMI Arts Festival this year?
The people involved. It’s always about what the panel is, what we are talking about, who is the moderator. Sudhanva Deshpande was my first director, he brought me on stage. He directed me in the theatre. I was very young when he directed me, it feels strange now.
Looking back at your early films, which single decision changed your approach as a director?
No, I don't think I changed my approach to directing. You know, it's like everything is a lesson. If you ask, what is my biggest mistake, if I look back? Being a producer. I'm not a producer. I don't think, like a producer. People say that I think like a producer when I'm directing. I don't know. But if I would not have become a producer, I would not have learned so much that I have learned. So everything that happens is good for the good.
How has your relationship with writers changed over the years, especially in a time when screenplays are often altered by producers and streamers?
I love screenwriters. I think screenwriters are very underrated and underpaid. There are very good screenwriters in this country. When I look for screenwriters to collaborate with, I see if they have a very authentic, original voice. And plus, they should know how to write, they shouldn’t just not be lazy people who throw ideas on a whim.
Can you describe one concrete directing habit you believe young Indian filmmakers should cultivate?
Absolutely not. I want to see what young filmmakers are doing right now because technology has changed. And technology is changing the language of cinema. When I work as an actor, I am constantly observing the directors, the new things that they are doing. So I am back to being a student at that moment.
Which contemporary Indian director (any region) do you feel is doing the most interesting work and why?
I love Vetrimaaran, I love Rajeev Ravi. I want to see what Geetu Mohandas is going to do. I look forward to Rima Das’ work. Lots of filmmakers like that.
You’ve talked about leaving Bollywood and moving to the South…
I have never said that. I have said, I am leaving Bombay, not Bollywood. I am making Hindi movies. I don’t live in Bombay anymore. If I am not living in Bombay, I can’t make Hindi films? This is how headlines are made. I enjoy watching South films a lot, I have been acting there as well. As a filmmaker, I am still making Hindi films. I will always be a Hindi filmmaker.
How can festivals and city-level initiatives (like AMI) better connect regional talent with national and global platforms?
This is how culture is built. This is what is missing and this needs to happen often. Because a lot of regional cinema, a lot of independent filmmakers, they don't get a platform. So I think these are the spaces for them. This is a great platform. Today, when I came in, I saw the board, I said, who are the music bands playing? Parikma, and Agni, and all that. I was happy. This is when you want to live in the city and catch up on everything and I’m like, oh, I’m just coming here as a panellist and not getting to really enjoy the festival. And I want to be on the other side.
In ten years, when critics look back at your work, when professors are teaching your films, what thread would you most like them to notice?
I don’t care. I think students should be shown films, and not be taught films. They should be taught skills. This is how you use a camera and this is how you use an editing machine. This is how you use tools, and let them grow on their own. They should not be taught films. Let the students have conversation amongst themselves, not with the professors. I think cameramen should teach how to use a camera, edit it, and how to use the machine. And the rest of it, people find their own way. Watch a lot of films. That’s how I do it, when I go as a teacher in a film school, I just show a lot of films and I listen to the students talk about it.
What are the films that you would tell every filmmaking student to watch?
The first film I watched as a student was A Fugitive From The Past, and a lot of things changed in my life.
Is there a question you wish journalists would stop asking you?
Laughs. I don’t like questions, if you’ll ask my team, they’ll say, don’t ask him any questions. I don't like questions. Because questions get me into trouble. I just don’t have a filter. You’ll ask me a question. I will say what I feel, and then I’ll get into trouble. And because of me, other people get into trouble.