'Make Jackie Act’: Bollywood director Vidhu Vinod Chopra’s audacious bet with Naseeruddin Shah that paid off
At a masterclass at IFFI Goa, Chopra did not hold back as he spoke about his epic career
Goa: "Naseeruddin Shah once challenged me, 'Make Jackie Shroff act!' He walked out of Parinda. I was furious but determined. I told him, ‘Watch me.’ And Jackie not only acted but also won the Best Actor award for the film."
This striking revelation set the stage for an extraordinary masterclass by Vidhu Vinod Chopra at the on-going International Film Festival Of Goa.
The filmmaker, whose film 'Zero To Restart' is being screened at this year's IFFI, is known for his uncompromising storytelling and ability to turn challenges into opportunities. He didn't hold back as he offered an unforgettable session filled with controversial anecdotes that defined his journey. From clashes with industry titans to being true to what he believed in, here are the highlights of his session:
The Naseeruddin Shah fallout: A challenge accepted
One of the standout moments of the masterclass was Chopra recounting his fallout with acclaimed actor Naseeruddin Shah during the making of Parinda. Shah’s skepticism about Chopra’s decision to cast Jackie Shroff, then labeled a “wooden actor,” sparked a confrontation that changed the trajectory of the film. “When Naseer walked out, he told me, ‘Jackie can’t act. Good luck directing him.’ I was angry and young. I promised him—and myself—that I would make Jackie shine. Jackie’s transformation was a testament to belief and relentless collaboration. He owned that role and silenced his critics.”
This wasn’t just about proving Shah wrong. For those wondering, Shah walked out of Parinda because he did not have a love-interest in the film. His co-star Anil Kapoor was paired with Madhuri Dixit, while his character -- a loner -- didn't have a relationship angle, which allegedly miffed him. The role eventually went to Shroff.
For Chopra, it was about his commitment to the craft and the stories he wanted to tell. “Jackie’s vulnerability in that film was real. He once said to me, ‘I don’t know how to act,’ but by the end, he trusted me enough to give his best. That’s filmmaking—building trust, breaking barriers.”
National Awards and why they don’t matter:
For someone whose debut film (Murder at Monkey Hill) won a National Award, Chopra has a surprisingly dismissive view of accolades. “Awards are irrelevant if your film doesn’t resonate with people. They’re not a marker of success or legacy. What matters is how your film connects with its audience—whether it moves them, challenges them, or stays with them after the credits roll.”
This belief has guided Chopra throughout his career, ensuring that his focus remains on storytelling rather than chasing external validation.
The Struggles behind Khamosh: A DIY success story
One of the most inspiring stories from the session was about Chopra’s early thriller, Khamosh. Despite widespread praise, the film found no buyers. “The film was loved by everyone but bought by no one,” Chopra quipped. Faced with rejection, he decided to release the film himself, taking an unconventional route.
“I approached the owner of Regal Cinema in Mumbai, who liked the film and agreed to give me the theater for two weeks at 50% profit sharing. With no marketing budget, we painted the hoardings ourselves and relied on word of mouth. On the first day, the theater was nearly empty. But then I saw union workers buying tickets in bulk to sell them in black outside. Suddenly, we had a house full sign—and an empty hall. That’s how we created buzz back then.”
This episode was a defining moment in Chopra’s career. “It taught me to never give up. If people aren’t opening doors for you, build your own entrance. Every zero moment is an opportunity to rewrite your story.”
RD Burman and the revival of a legend:
Chopra also shed light on his partnership with the legendary RD Burman during the making of 1942: A Love Story. At the time, Burman’s career was in decline, and music companies refused to buy the album if he was involved. Chopra, however, saw untapped potential.
“RD was under immense pressure. The first version of Kuch Na Kaho he composed didn’t work for me. I couldn’t bring myself to tell him it was bad, but eventually, I had to be honest. I said, ‘Dada, you’re the closest we have to your father, SD Burman, but this isn’t it.’ He told me to give him time, and when he came back with the final version, it was magic. It reminded me why you should never lose faith in people.”
Parinda: A film ahead of its time:
Chopra shared how Parinda broke conventions and became a touchstone for Indian cinema. From refusing to change the tragic twists, despite distributors offering more money, to its groundbreaking sound design, the film was revolutionary.
“Distributors wanted me to give the film a happy ending. They offered me Rs10 lakh (Dh45,000) and more if I didn’t kill Anil Kapoor’s character. But for me, the message of the film—‘violence begets violence’—was sacrosanct. I refused.”
Parinda remains a reference point in film schools for its visual and sound design, a fact that still surprises Chopra. “It wasn’t about being ahead of my time; it was about staying true to the story.”
The philosophy of three E’s:
Chopra distilled his filmmaking philosophy into three principles:
1. Entertain: “If you can’t hold your audience’s attention, nothing else matters.”
2. Educate: “While entertaining, offer something meaningful.”
3. Elevate: “If your film can inspire or change perspectives, you’ve truly succeeded.”
Jackie Shroff: From wooden to award-winning:
"‘Bhidu, tu sambhal lena. Mereko acting nahi aata (Bro, you take care of it. I don’t know how to act),’ Jackie Shroff told me when I narrated Parinda to him," Vidhu Vinod Chopra recalled with a laugh. To ease Jackie’s nerves, Chopra devised an unconventional strategy. ‘I told him my guru in Kashmir had given me a chant to overcome challenges. I wrote it down and sent it to him.’ The mantra? ‘I can act.’ Jackie called back within 15 minutes, swearing at me, but I told him, ‘If you can’t believe it yourself, how will you make others believe it?’”
Chopra also highlighted his method of translating belief into performance. “Actors are often scared. They doubt themselves. With Jackie, I created an environment where he could explore the character without fear. By the end, he owned the role, and that’s why he won Best Actor for Parinda. It’s about believing in your team, even when others don’t.”
Why filmmakers should ignore business:
Chopra’s advice to aspiring filmmakers was refreshingly unorthodox: “Don’t worry about the business of cinema. Focus on your craft. If you’re true to your story, the business will follow. Ingmar Bergman said, ‘Thou shalt entertain without selling your soul.’ Stick to that.”
Music as the soul of cinema:
For Chopra, music is more than a tool; it’s the heart of his films. “Growing up in Kashmir, Hindi film music was my emotional anchor. Even today, I start my mornings with Chopin and end them with Taylor Swift, thanks to my daughter Zuni. Music isn’t just background; it’s the emotion of the story.”
The legacy of never giving up:
As the session came to a close, Chopra left the audience with a powerful message: “Life is full of zero moments—missed opportunities, rejections, and failures. But they’re also what shape us. If I could go from a boy in Kashmir waiting for a letter from Vijay Anand that never came to standing here today, anyone can rewrite their story. The key is to never give up.”