Cinema belongs to the audience: Aamir Khan in candid conversation on success, failure

In a reflective conversation on Duologue with Barun Das, actor Aamir Khan offered a measured take on success, failure, and the evolving rules of filmmaking in a globalised, digitally distracted world. At the heart of his remarks was a consistent idea: cinema, no matter how it is packaged or promoted, ultimately belongs to the audience. Khan addressed the long-standing fixation with the Oscars, pushing back against the idea that the award defines cinematic excellence. While he expressed respect for the Academy of Motion Picture Arts and Sciences, he framed the Oscars primarily as a marketing vehicle, one that helps films travel beyond borders and reach viewers who may otherwise never encounter them. For him, recognition from audiences carries far more weight than international trophies, he said. Khan's emphasis on audience reception also shaped his response to debates around how India is portrayed globally. Dismissing the assumption that international juries favour films highlighting the country’s “darker side”, Khan pointed to acclaimed titles such as Lagaan and Mother India as proof that a wide range of narratives can resonate worldwide. He also admitted his discomfort with Slumdog Millionaire, suggesting that such portrayals may appeal to foreign audiences partly because they lack the cultural context to fully interrogate what they are seeing. The result, he implied, is a kind of fascination rooted in unfamiliarity. The conversation also turned inward, with Khan reflecting candidly on his own missteps. He acknowledged that years of consistent success had led to a degree of overconfidence, blinding him to potential risks particularly in managing budgets. This self-critique extended to his performance in Laal Singh Chaddha, where he admitted he misjudged the tone of his character, especially when compared to Tom Hanks’ portrayal in Forrest Gump. Beyond personal reflection, Khan offered a broader diagnosis of the industry’s current challenges. He argued that the rise of smartphones fundamentally altered audience behaviour, shifting viewers from being “captive” in theatres to constantly “distracted”. With endless content available at their fingertips, audiences now demand stories that are far more engaging and immersive, he said. For filmmakers, this means the margin for error has narrowed significantly, Khan stated. On the contentious issue of nepotism, Khan struck a balanced note, acknowledging that coming from a film family can make it easier to secure an initial opportunity, but stressing that longevity depends entirely on merit. Recalling his own experience with his son Junaid Khan, Khan revealed that despite being impressed by his preparation and screen test, he chose not to cast him in Laal Singh Chaddha. The decision, he said, was guided by fairness and professional commitment rather than personal preference. For Khan, the industry’s ultimate filter remains unchanged: “The audience cannot be managed.” No amount of influence, promotion, or legacy can sustain a career if the work fails to connect, the actor stressed. In a conversation that moved fluidly between introspection and industry critique, Khan stressed that in an era of shifting platforms and global visibility, authenticity, and the audience’s response to it still determine what endures.