Director Abhinay Deo on his films called ahead of time: Never understood the label

Director Abhinay Deo said he never understood why some of his films are labelled "ahead of their time." In an exclusive chat with India Today, he also recalled convincing Karisma Kapoor to star in Brown and shared an update on a possible 24 revival.

In Short

• Abhinay Deo said he never understood 'ahead of time' label for his films
• Karisma Kapoor initially declined then accepted her role in Brown
• Brown showcases Kolkata's diverse, rarely seen locales

Director Abhinay Deo has never been convinced by the idea that some of his films were simply "ahead of their time." The filmmaker, whose credits include Delhi Belly, 24 and the recently released crime thriller Brown, believes every project is an attempt to push creative boundaries. In an exclusive conversation with India Today, Deo spoke about rejecting the label, convincing Karisma Kapoor to take on one of her most unconventional roles, balancing creativity with commercial realities, and the possibility of reviving 24.

Three weeks after Brown premiered, Deo is finally allowing himself to enjoy the response. The crime thriller has been praised for its layered storytelling, atmospheric portrayal of Kolkata and, above all, Karisma Kapoor's striking transformation into an alcoholic police officer battling her own demons while chasing a serial killer.

For Deo, however, the biggest compliment isn't that audiences are surprised by Kapoor's performance, but that they never expected to see her in a role like this in the first place.

He pointed out that while Karisma Kapoor has delivered memorable performances in films like Zubeidaa, Fiza and Shakti: The Power, Brown allowed her to inhabit a world that wasn't labelled as art house or commercial. Interestingly, Kapoor wasn't immediately convinced and declined the show within minutes.

"She didn't even want to discuss it further with the Zee team. Then they convinced her to have a ten-minute meeting with me. That meeting lasted nearly an hour and a half, and by the end of it, she was completely sold on the idea. Whether that's my convincing power or her ability to see what she could play, maybe it's a little bit of both," he said.

But agreeing to the role came with conditions. Deo made it clear that there would be no room for vanity, with not even mirrors allowed on set. According to the filmmaker, Kapoor needed a few days to adapt to a different style of filmmaking, complete with workshops, bound scripts and rehearsals, something she admitted she had rarely experienced before. Once she settled in, though, there was no looking back.

"When she finally saw the entire series, she was in a complete state of shock. Initially, I couldn't make out whether it was a good shock or a bad shock. Then she came and hugged me and said, 'My God, what have you done?' I told her, 'It's you who's done it. Enjoy it,'" he said.

Another character that has earned praise is Kolkata itself. Rather than relying on postcard visuals, Deo consciously explored neighbourhoods and communities that rarely find space in mainstream cinema. From the tanneries to Chinatown and several hidden corners, residents were surprised to see their city captured so beautifully.

"Very rarely do you get to work in a city which is so multi-faceted. Where else do you get Anglo-Indians, Chinese, Bengalis, and Biharis all co-existing in such harmony and yet not in harmony? The only thing I haven't explored is football because everybody expected me to do that. Otherwise, I've explored every aspect of the city, which generally isn't looked at," he said.

Despite making content-first films, Deo doesn't dismiss the importance of stars. If anything, he believes filmmakers have a responsibility to balance creative ambition with financial realities.

"It may not be the first thing, but it is an important thought because eventually somebody is putting crores of rupees behind your idea. You can't say, 'I am a pure creative person, and I'll only do exactly what I want.' It's your responsibility to make sure people come and watch the film and that the money is recovered. At the same time, you can't think only from the point of view of stars. They have to fit the character. As a director, you're constantly balancing responsibilities. Sometimes you loosen your grip so that later you can tighten it further. It's a tug of war all the time," he said.

That philosophy perhaps also explains why films like Delhi Belly and shows like 24 continue to find new audiences years after their release. While many describe them as projects that arrived before audiences were ready, Deo isn't particularly fond of that label.

"I have never understood what 'ahead of time' means. If nobody tries doing something before everybody else, then how do we move forward? Sometimes you'll get it right, sometimes you'll get it wrong, but somebody has to push the envelope. I simply make what feels right to me," he said.

He also revealed that conversations about reviving 24 continue every time he meets Anil Kapoor, though rights, international partnerships and platform logistics make it a complicated process. Still, he remains hopeful.

Much like the stories he tells, Deo seems less interested in taking the easy route and more invested in making audiences see familiar faces and familiar genres through an entirely new lens.

- Ends