PATEL: Why did you want to make a film of “The Mystic Masseur”? MERCHANT: All its characters are wonderful. It is Naipaul’s most accessible novel, a human book set in Trinidad, with a protagonist who takes you on a journey. I wanted to be part of that journey.
It’s the only Naipaul novel made into a film. Was it difficult to get permission? I wrote to his agents but there was no response, so I wrote to Naipaul directly. He replied, “Dear Ismail, please do not come to see me, I know your persuasive powers are legendary. I’d like you to negotiate the deal with my agent.”
Naipaul’s reputed to be a tough negotiator. His agent is–we paid a substantial amount of money to guarantee that the film would be made.
Speaking of your tight budgets and your cooking for the stars, Hugh Grant once said, “Money’s not the reason you do a Merchant-Ivory film, you do it for the curry.” Hugh exaggerates. Curry’s not the only magic. It’s the writing that attracts stars, because a good script helps them create a memorable character. We’ve created unique relationships with our actors–they become known as “Merchant-Ivory actors.” We’ve established a name, we generate good will and we’ve been lucky. Our hallmark is passion.
You’re reputed to be one of the savviest producers. What’s the secret of your success? I respect people and I keep my feet on the ground. Attitude is most important–no matter where, people respond to that immediately. And I’ve inherited a gambler’s spirit from my father, who went to the races every Saturday. I’m determined. I don’t take no for an answer. The French say, “Pas possible.” For me, “pas possible” does not exist. For example, since September 11 it’s impossible to get permission to shoot on busy streets in Paris, so I went and saw the mayor. We were allowed to shoot wherever we wanted. Why? Because a personal relationship was established. I’ve made 46 films–I don’t have to go anywhere, I can smoke a cigar in my office. But people respond to the personal touch. I learned that from my mother: strangers who came to the door while we were eating would be invited to share the meal.
Why directing? When you’re captain of a ship, you take full responsibility; I thought, it’s time I take full responsibility for work I want to do. Certain things–things you’ve experienced in your childhood–you want to say yourself. I did that when I directed “In Custody.” We optioned the novel from Anita Desai. She didn’t say, “Either buy it or forget it.” We asked her to write the screenplay–she’d never written one before. We had lots of exchanges: I made suggestions, she came to the location, we added scenes that weren’t in the book. As you go along, ideas come. I directed “The Proprietor” because I wanted to work with Jeanne Moreau, I wanted to work in Paris.
Does Jim help? All the time. In the script stages, both he and Ruth help.
The Guinness Book of World Records lists Merchant-Ivory as the longest ongoing collaboration. Our collaboration is unique. We have diversity of sensibility: a Muslim, a Jew and a Christian. We see things differently from others because we’re constantly crossing borders. Like an eagle, we observe others with greater clarity than locals can. Our survival technique is to think in terms of modest scale, and start with a project that we’re passionate about. Over the years our friendship has grown more intense. We’ve become an extended family. The continuation of friendship and the sharing of talents are our propelling factors. Wherever we are, we talk to each other every day. In New York we share breakfast every morning at Ruth’s; when we’re filming abroad, we call her every day and bring her up to date.
What next? We’re constantly working with new directors, new artists. I’m just finishing a book about my passage from India–the journey of a filmmaker from Bombay to Hollywood and back.
