In this insightful interview with The Literature Today, award-winning author Rajesh Talwar reflects on his latest book “Bollywood, Hollywood And The Future Of World Cinema” and shares his perspective on the evolving landscape of global cinema. Drawing from his vast literary experience and international exposure through the United Nations, Mr. Talwar explores the intersections of storytelling, culture, technology, and soft power. From the global reach of Indian cinema to the transformative role of AI and the need for structural reforms in the film industry, this conversation offers a compelling vision of how cinema can shape and be shaped by a rapidly changing world.

Questionnaire:

The Literature Today: With an expansive body of work spanning 44 books and multiple genres, what inspired you to explore cinema so deeply in this particular book, “Bollywood, Hollywood And The Future Of World Cinema”?

Rajesh Talwar: I have been a cinema addict for many years. Not a week goes by without my watching one or two films. Since I write across multiple genres, it felt natural to devote a book to this subject. Moreover, given my professional background with the United Nations, I thought it important to bring in a geopolitical perspective. We are living through a time when power is shifting towards Asia: first in terms of economic strength, and increasingly in the realm of soft power as well. Cinema, being one of the most influential cultural forces, provides a fascinating lens through which to examine these changes.

The Literature Today: Your book traverses Bollywood, Hollywood, and global cinema landscapes! What key gap did you aim to address through this comparative exploration?   

Rajesh Talwar: If you look at the global market for cinema, Bollywood accounts for only a small share of overall profits. Of course, our domestic market is itself vast, with over a billion people, but our external reach remains limited. I wanted to identify certain key gaps in the way we make our films and in how we market them internationally. By addressing these gaps, I believe Indian cinema can expand its global footprint and become a stronger vehicle for India’s soft power in the years ahead.

The Literature Today: Having worked with the United Nations across continents, how have your global experiences shaped your perspective on world cinema?

Rajesh Talwar: In Liberia, I met fans of Shah Rukh Khan; in Taiwan, I encountered admirers of Aamir Khan; and in Egypt, people would often ask me about Amitabh Bachchan. In Japan, I even met fans of Rajinikanth. These experiences showed me that Indian cinema already has a remarkable global penetration. A Japanese friend once told me that Indian culture feels much closer to Japanese culture than Hollywood does. He explained that a six‑foot‑something American hero is not someone the Japanese can easily relate to, whereas Indian stories and characters resonate more naturally. All of this convinced me that the world is waiting for us – we just need to get our act together. My book offers many suggestions on how Indian cinema can strengthen its global presence and truly become a force of soft power.

The Literature Today: In your essays, you examine the evolving legacy of the icons like Amitabh Bachchan; so what in your view, defines true longevity in cinema?

Rajesh Talwar: In my essay on Amitabh Bachchan, I highlight how his father’s teachings gave him the strength to reinvent himself and enjoy a remarkable second innings. Combined with talent and dedication his command of Hindi in a poetic but accessible form makes him irreplaceable as the host of Kaun Banega Crorepati. This I believe was one of his father’s important gifts to him. Of course, his English is equally impressive. Beyond talent, however, what truly defines longevity are qualities such as humility and adaptability — both of which Amitabh has consistently demonstrated. These traits allow an artist to remain relevant across generations. Another great icon who embodies these same qualities, together with extraordinary talent, is Asha Bhosle. It is this combination of skill, humility, and adaptability that ensures a long and enduring presence in cinema.

The Literature Today: You touch upon the influence of Charlie Chaplin on Raj Kapoor. How do cross-cultural inspirations continue to shape cinematic storytelling today?

Rajesh Talwar: Yes, Raj Kapoor was a great admirer of Charlie Chaplin, but he brought his own vision of the simpleton to the screen. His character resembled Chaplin’s tramp, yet it was not a mere copy‑and‑paste imitation. That originality is precisely why it resonated so deeply, not only in India but also overseas, especially in Russia. I think Mahatma Gandhi summed up the ideal approach beautifully when he said that he wished the winds of all cultures to blow across, but that one should remain firmly rooted at the same time. We must welcome cross‑cultural influences, but stay true to our own indigenous stories and cultural identity. That balance is what gives cinema its enduring power and universal appeal.

The Literature Today: The book raises questions about whether Satyajit Ray could have achieved even more. So, what factors limit or amplify a filmmaker’s global impact?

Rajesh Talwar: Satyajit Ray was one of our greatest filmmakers, if not the greatest. However, in my view, he did not delegate sufficiently. He was extraordinarily multitalented — able to compose the music for his own films, design sets, and write scripts. In the beginning, he worked with other great artists, but later he realized he could do much of it himself. While this speaks to his brilliance, I argue in my book that he might have produced more films, and conceivably achieved even greater heights, had he delegated more.

As for a filmmaker’s global impact, many factors come into play. Ray himself once remarked that Indian cinema preferred to make intimate, small‑scale films rather than epics involving disasters, earthquakes, or large spectacles, largely because such productions required far greater budgets. Today, however, Indian films are beginning to invest more heavily, and our budgets have started to rise. This shift gives Indian filmmakers the possibility of creating larger, more ambitious works that can make a bigger splash globally, while still retaining the unique storytelling traditions that define our cinema.

The Literature Today: Your discussion on the Justice Hema Committee Report is particularly striking. Why do you believe this report is a turning point for the Indian film industry?

Rajesh Talwar: Many years ago, Guru Dutt made the wonderful film Kaagaz Ke Phool. Unfortunately, it flopped, otherwise it might have sparked an early debate on how cruel and exploitative the film industry can be. A report like the Justice Hema Committee Report has been long overdue. It speaks not only of sexual exploitation but also of many other reforms that the media has not sufficiently highlighted. These include wage disparity, the dominance of the star system, the influence of the film mafia, the absence of female technicians, the exploitation of extras who often travel long distances without proper compensation, and the lack of effective redressal mechanisms.

Although the report focuses on the Malayalam film industry, much of what it says is relevant to all Indian film industries, including Bollywood. What is crucial now is that the report circulates widely and that its recommendations are implemented. Doing so will increase the overall professionalism of our industry, which in turn will help it compete more effectively on the global stage. The report is indeed a turning point — but the bigger transformation will come when we begin to act on its recommendations.

The Literature Today: The book also examines the rise of global cultural phenomena like K-Pop. What lessons can Indian cinema and music industries learn from such global successes?

Rajesh Talwar: Just as Indian films command only a relatively small share of global earnings despite their brilliance, the same is true of our music. I argue that with a few small but significant adjustments, our music can break through the invisible glass partition that currently exists. We already have pioneers in this regard — Asha Bhosle, R. D. Burman, Nusrat Fateh Ali Khan, and A. R. Rahman — who have shown how Indian music can resonate internationally.

Think of Indian cuisine: today it is one of the leading global cuisines, but it achieved that status by making subtle adjustments to suit overseas palates while retaining its authenticity. The same principle applies to music. Foreign audiences will embrace music that is authentically Indian yet blended with Western and international influences. This fusion makes the music accessible without diluting its roots. There is much more to discuss here, and it may well become the subject of another book.

The Literature Today: As artificial intelligence begins to influence filmmaking, how do you foresee its impact on creativity, storytelling, and authenticity in cinema?

Rajesh Talwar: Artificial intelligence must be used as a tool to assist filmmaking, not as a substitute for it. It is an extremely powerful resource, and one of its most exciting possibilities is that it can help bridge the gap in budgets. I mentioned earlier how Indian filmmakers traditionally lacked the funds to create films on an epic scale. With AI, a film like Baahubali could potentially be made today at a fraction of its original cost.

I say this with some authority because I am currently working on two films that are both AI‑generated. The potential is enormous — from reducing costs to opening up new creative possibilities. But at the same time, we must remember that technology should remain in service of human imagination. We, as filmmakers, must stay firmly in the driver’s seat to ensure that creativity, storytelling, and authenticity continue to define cinema.

The Literature Today: You explore the idea of Indian cinema potentially rivalling Hollywood. What structural or creative changes are necessary to make this a reality?

Rajesh Talwar: My book is full of recommendations. First and foremost, we need to implement the Justice Hema Committee’s suggestions, which address issues of exploitation, wage disparity, and professionalism. We must dilute the star system and give greater importance to scriptwriters, storytellers, cinematographers, and technicians. Why should stars be overpaid while the rest of the creative team is undervalued? Equity must extend not only to gender but also to dancers, extras, and smaller technicians who form the backbone of the industry.

Creatively, we must rely on original content rather than copying from Hollywood or Korean cinema. India has no shortage of unique stories. Structurally, as economic power shifts to Asia, we should seize opportunities in this vast market. For example, why not release two versions of the same film – one with songs for domestic and diaspora audiences, and one without songs for international viewers who may not appreciate them? Professionalism is also key: stars keeping entire units waiting should not be tolerated. In this respect, Amitabh Bachchan sets a fine example of discipline and commitment.

If we embrace these reforms- equity, originality, professionalism, and adaptability –Indian cinema can truly rival Hollywood and establish itself as a global force.

The Literature Today: Looking ahead, what do you believe will define the “future of world cinema”, will it be technology, storytelling, cultural exchange, or something else entirely?

Rajesh Talwar: I believe it will be a mix of all these elements. We will see more stories relevant to Asia, since Asia is now a growing film market, and the Chinese audience already rivals Hollywood in terms of sheer numbers and box office strength. Greater collaboration is inevitable, and I foresee films in the future giving prominent roles to Indians and Chinese. Shekhar Kapur once remarked that the Spider‑Man of the future could well be Indian or Chinese – and it’s not just Spider‑Man. I see the rise and revival of Indian culture, expressed not in a triumphalist way, but in a spiritual sense of welcoming all cultures while remaining rooted in our own.

If Indian cinema carries out the reforms I have spoken of – equity, professionalism, originality – each year will mark progress in terms of global earnings and recognition. To give an analogy, if Chandrayaan could reach the moon on a modest budget, why can’t a low‑budget Indian film achieve billions at the box office the way a Hollywood blockbuster sometimes does? The future of world cinema will be defined by technology, storytelling, and cultural exchange, but also by the ability of Asian cinema to seize its moment on the global stage.