Month: August 2023

Trivikram Gajulapalli, a Telugu filmmaker based in the US, ardently champions the cause of sharing authentic Indian stories with a global audience through crossover films. His upcoming short film is a testament to this passion. It captures a life-altering encounter between a Texan biker and a mysterious little girl, intricately woven with profound Indian philosophy. Discover more about his ideas.

What inspired you to become a short filmmaker, and how did you get started in the industry?

Creative writing is one of the things that flowed naturally for me, intertwined with my innate curiosity about life, relationships, and society. Filmmaking, therefore, emerged as a seamless extension of my being. I embarked on a self-guided journey into filmmaking, starting with my short films and gradually transitioning to full-fledged feature films.

How does living in the US help or hinder your work?

Living in the US can undoubtedly pose challenges for those aspiring to venture into mainstream Telugu cinema. Thankfully, the landscape is evolving, and opportunities are on the rise. With a decent portfolio and compelling story, production houses are increasingly open to creating films within the US. We can take it a step further by creating quality crossover films for global audiences, and this is where my passion lies.

Can you tell us about the themes and subjects you explore in your Telugu films?

Diverse stories, varied genres, yet a singular theme: “inspiration”. I choose a conflict, and the subject could be about human relationships, social issues, inner growth or Dharma. I craft a compelling story around it and try to tell it in a way that resonates with a broad audience.

Telugu cinema has a rich history. How do you see your work contributing to or diverging from traditional Telugu filmmaking?

As previously mentioned, my interest lies in bringing our authentic stories to global audiences, which in turn expands the audience base not only for Telugu cinema but also for Indian films as a whole. Also, it’s important to acknowledge that I am a total outsider to the Telugu film industry in several aspects. Sometimes, this enables me to approach things differently.

What are the challenges specific to creating non-commercial films in Telugu, and how do you overcome them?

Regardless of how unconventional our films may be, enhancing the commercial viability remains crucial. Otherwise, it risks remaining merely a hobby. Spreading the word about the film is the biggest challenge as per me, and I believe great promotional material and social media are the solutions.

What is your approach to casting and working with actors in your films? Could you describe it with reference to Manasu?

I look for actors who are both talented and disciplined. I discuss the characterization in great detail with them and eagerly wait to see how they own it. I love it when my actors know their dialogue by heart. No prompting on sets, even if they are non-Telugu, and so far I’m successful.

Regarding “Manasu,” the moment I met Vankayala Satyanarayana garu, I was delighted to have found my lead actor. All of my actors have undergone extensive dialogue rehearsals. Despite their age, both senior actors managed rigorous schedules, including long days and nights. That’s partly because they saw the hard work we were putting in. They have never let their experience intimidate me. It was a very satisfying project for everyone involved.

Short films often have limited budgets. What strategies do you use to make the most of your resources while maintaining quality?

I have self-funded all my projects, including my feature film. Lessons I learnt about budgeting are: fix a budget, whatever you think is appropriate, and stick to it. Spend on things that directly impact the visual presentation, while reducing off-screen costs. Also, make the payments promptly.

How do you think the digital era has impacted the distribution and viewership of Telugu films?

The foundation for the pan-Indian success of Telugu films and actors was actually laid on YouTube, a free platform, with the dubbing of their previous movies into various Indian languages. I’m a big fan of the democratizing effects that technology brings. As for distribution, OTTs are certainly reshaping the landscape. However, with the proliferation of platforms and content, we might need to explore fresh distribution avenues, particularly for smaller players.

What role does cultural or regional identity play in your short films, and how do you balance it with universal themes? Especially in your film Upshot and your next project.

My goal is to tell authentic stories, so local culture plays a big role in my movies. It impacts the language, costumes, situations, emotions, everything. In projects like “Upshot,” “Manasu,” and my upcoming script, I delve into the protagonist’s internal conflict. While they may appear rooted in local settings, their essence lies in universal themes. It’s just a matter of taking them to a global audience.

Can you discuss any upcoming projects or ideas you have for future Telugu short films?

I’ve written a couple of intriguing feature film scripts – one set against the backdrop of a temple (in Telugu) and the other a crime investigation (in English), loosely inspired by the attacks on the Indian community in the USA during the 1980s. Yet, my upcoming project will be a short film, focusing on the life-altering encounter between a Texan biker and a mysterious little girl. This story is intricately woven with Indian philosophy, promising a captivating narrative.

As a short filmmaker, what message or emotions do you hope your audience takes away from your work?

I hope to inspire them to do better in their lives.

How do you market and promote your Telugu short films to reach a wider audience?

I provide the much-required initial momentum, primarily through social media and YouTube, to reach the intended audience. Beyond that, the content must stand on its own merits. My short films serve as my portfolio, so I haven’t focused on a revenue strategy for them.

What role do you think short films play in the broader landscape of Telugu cinema and storytelling?

Short films started off as fun projects, later served as portfolios, pilot projects, platforms for experimentation and alternate revenue models. They are now taking newer forms like anthologies. Given the audience’s shrinking attention span, the significance of short films is bound to grow further. They will be all the above and more.

Finally, can you share a memorable behind-the-scenes story or anecdote from one of your short film productions?

Many of my projects draw inspiration from real-life incidents; sometimes, a single visual is all it takes for the story to unfold. One day, as I was commuting to my office in Chennai, I witnessed a very elderly man praying in front of a standalone Vinayaka temple by the roadside. By the time I reached my office, the story for “Manasu” was fully formed, almost as if it were being dictated to me. It’s truly thrilling when creativity flows so naturally. Isn’t it?

At Güngur Barcelona, Patricia Salgado's main focus has been to promote Indian art primarily through teaching the Odissi dance, offering classical Indian music lessons led by the musical director of Güngur, Jordi Prats, and organizing workshops and performances for both Güngur dancers and Indian artists in general. With over 10 years of presence in Barcelona, they have become one of the major references for the dissemination of classical Indian arts in Southern Europe, says Patricia in this interview for the Center for Soft Power.

What are your earliest memories of seeking Indian culture.

Since childhood, we've had a very close connection with India. My mother, a psychologist, yoga instructor, and meditation enthusiast, introduced us to India from a very young age. I traveled to India with her when I was only 17, at a time when the internet didn't exist. That experience further deepened my connection with Indian culture, but on that trip, I didn't have the opportunity to encounter its dances.

I discovered classical Indian dance while still living in Argentina. My mother took us to a Kuchipudi demonstration by the dancer Ranga Vivekananda, who had recently arrived in the country from India. What was that? The costumes, makeup, jewelry, colors, hand movements, facial expressions, and the sounds of instruments... it was truly eye-opening. My sister and I immediately started studying with her.

I was already in love with India; I was finishing my degree in fashion design, I enjoyed painting, music, and art in general. That dance brought together everything I was passionate about. I often wonder... if I had discovered it a few years earlier, I highly doubt I would have completed my university degree.

Shortly after, I moved to Barcelona in search of work as a designer. During the first years in the city, I focused 100% on my work as a designer, traveling extensively, including to Asia, in search of materials, suppliers, and trends. By the age of 24, I was designing for major companies, leaving me with little time for anything else. After 2 or 3 years, my sister told me she was traveling to India to study Bharatanatyam and Kuchipudi. I took advantage of the few weeks of vacation my job allowed and escaped to visit her. When I arrived at the room where I'd be spending a few weeks accompanying my sister and taking a break from Barcelona's fast pace, I found a practice saree and a choli on the bed. I looked at her, and she said, "You have a class in 1 hour." From that moment on, I haven't stopped dancing.

Was it easy to find gurus and teachers in your city?

It wasn't easy. I had the experience of learning in India. I had tasted the quality, purity, and devotion of the teachers who had taught me. I searched desperately, but at that time, there was no one in Barcelona. No teacher or school where I could learn in the way I expected.

Together with my sister, we made the decision to return to India and continue our studies there. During that second trip, we decided to establish Güngur. In both cities, Barcelona and Buenos Aires. We wanted to bring to our cities what we had desired so much. A place where we could share and learn this unique art. And that's how Güngur was born.

 Is it possible to understand the ethos and nature and purpose of Indian dance away from its natural setting

In my case, being closely connected to India from a young age, I always felt a special bond. India was my refuge, my passion. Dancing connects me to my deepest essence; I feel liberated, without necessarily feeling devout or rooted in religion.

However, after teaching this dance for 10 years, I realize the many reasons people are drawn to this dance here in the West. And it's fascinating. Because classical Indian dances are so rich in meaning, so complete, they attract people for their spiritual aspect, as many devotees of Krishna come forward. They attract for their technical side, as it's a comprehensive way to exercise our bodies. People are drawn for its theatrical side too, as telling stories and expressing oneself through mudras and facial gestures is unique and seldom seen in other artistic disciplines. Yoga practitioners are drawn as they appreciate the movements, mudras, and postures. Bollywood dancers and teachers are drawn to deepen and expand their knowledge to convey to their students. All these aspects coexist in the class and enrich in their own way. It's true that these dances don't have a very broad audience here. After the first year, typically only about 10% of students continue. But those who connect with this dance, continue till today.

What drew you to Indian dance. What made you choose Odissi in particular?

As I mentioned before, what initially drew me was its aesthetic aspect, Aharya abhinaya. But the moment I saw the movements and heard the music, I simply knew it was meant for me. From a young age, I listened to mantras, practiced yoga, read mythology, and painted Indian deities. However, I felt incomplete. When I saw Sujata Mohapatra perform Odissi, I knew I wanted to learn that style. I stopped learning Bharatanatyam and Kuchipudi and focused solely on Odissi. Its fluidity, subtle movements, music, and costumes captivated me. Design is my profession. Dancing Odissi is my passion. Sharing and transmitting it to others through Güngur is my mission.

Are there certain aspects of Indian dance you feel particular drawn to?

No, I'm drawn to all its aspects. Although I feel more comfortable with the technical side—practicing basic steps and repertoire of pure technique—I must say I increasingly enjoy attempting to express and connect with the more expressive part. I believe this is a challenge for all non-Indian dancers: to authentically connect and express. To convey our feelings through abhinaya, and to do so without acting or trying to imitate.

You have started your own space Gungur. What is its core activity?

At Güngur Barcelona, our main focus is to promote Indian art primarily through the following activities: teaching the Odissi style conducted by myself, offering classical Indian music lessons led by the musical director of Güngur, Jordi Prats, and organizing workshops and performances for both Güngur dancers and Indian artists in general. With over 10 years of presence in Barcelona, we have become one of the major references for the dissemination of classical Indian arts in Southern Europe.

Are Indian textiles popular in Hungary. What are the products you stock?

Not very much, unlike in Argentina where there's more demand and interest in textiles from India. However, our small brand, Bygünugr, offers not only garments made with hand-blockprinted fabrics, entirely handcrafted in India, but also a small collection of stretch cotton kurtas made in Barcelona with European fabric. These are designed for comfortable practice. It's challenging to find suitable attire for practicing these dances outside of India.

Your sister is a dancer too. Are there other family members interested in Indian art?

Our mother introduced us to this art, but my sister and I are the ones who have most deeply connected with Indian dance and art.

What is the biggest take away for you from Indian art?

For 10 consecutive years, I traveled to India during my vacations, specifically to Konark Natya Mandap in Konark. These were short yet intensely contrasting periods where I lived a completely different life from my routine in Barcelona, working as a designer. There, I didn't just learn Odissi; I interacted with the gotipuas who lived there. The experiences, the growth I underwent alongside them throughout those years, have been the greatest lessons I've received.

From the fascinating world of animation to the real life world of his films, Biju Das has crafted stories that combine skills of imagination and character sketching. He started his career as an animator, when he joined ZICA Mumbai to learn 2D Classic Animation Film Making and Designing. In 2007, he joined an animation production house called DQ Entertainment Ltd. in Hyderabad where he started working on some Disney projects. He moved back to Mumbai in 2007, and joined big corporate house Tata Elxsi where he worked in animation, feature films and TVC.

While the majority of us have a favourite animation character which we have either seen on screen or in cartoon books/strips, Biju was always curious about how characters move and talk. Animation works by creating the illusion of motion through a sequence of static images or frames. In traditional animation an animator begins by sketching a series of keyframes.  Once the keyframes are established, the animator creates in-between frames. These frames bridge the gap between keyframes and help create a smooth transition from one pose to another.

In traditional hand-drawn animation, the frames are scanned into a computer to create a digital version of the animation. In some cases, artists might skip the traditional process and create the animation directly on a digital platform, using tools like drawing tablets and software. In 3D computer animation, the process begins with modeling. Artists create digital 3D models of characters, objects, and environments. These models are often constructed using polygons, and they can be textured to give them their visual appearance. After modeling, a rigging artist sets up a digital skeleton or rig for each character. This rig allows animators to control the movements of the character's body parts, much like a puppeteer.

Both traditional and computer animation require a keen understanding of timing, motion, and storytelling to create compelling and visually engaging animations. The choice between these methods often depends on the project's style, budget, and creative objectives. For Biju, the joy of creating new things attracted him to animation. “Animators use creative skills almost daily to form a story.”

He worked in the production of many animated TV series, TV commercials and Animation Feature Films. “I worked for the animation feature films Road Side Romeo directed by Jugal Hansraj, and Arjuna The Warrior Prince by Arnab Chaudhury. He also worked for some VFX movies - Kedarnath, Bahubali -2, Welcome to Karachi, Ghayal Return, and the Telugu film Soorarai Pottru.”

The contrast between the two mediums of animation and films, was the capturing of reality as it is. “Animation is the process of creating moving images from drawings, computer graphics, or other visual art forms. Live action films on the other hand refers to filming real people, objects, and locations with a camera and it involves using actors, sets, props and I wanted to have new experiences with all these. I wanted to use real cameras and was keen to make my own movies. First I thought about making an animation film but animation is a very time consuming process and also I couldn’t afford an it. So I planned to make a live action short film – Devi, which was my first short film.”

His experience in animation stood him in good stead. “Animation helps a lot in the journey of film making because the process is almost the same. In animation we need to do everything frame by frame with all the minor details. We use Animatics, Storyboards which help for camera angles and compositions. Sometimes we need to set the camera lens also when we do 3D animation. When we do the character animations, we need to act out the scenes ourselves first. All these things make it easier to make any live action films too,” says Biju.

Biju says that there were many specific skills and lessons from animation that he found particularly useful in film making, for example it improved the skills of visualization, artistic talent, storytelling, ability to work under pressure and storyboard making. “When we shot short films like Devi and Surabhi we first completed all the pre-production work including story boarding.”

In terms of the major differences Biju encountered when working in the film industry as compared to animation, he says in the case of animation the images or graphical art forms are created at this point and are adjusted or re-animated throughout, whereas in live action it is not possible. “Besides, during a live action shoot we need to careful about the lighting conditions because the light changes when we shoot under natural light. There are many new things to learn or acquire new skills or adapt such as team management, right casting, locations selections, knowledge of lighting, costume, etc.”

Biju’s first film project was a short film Devi shot in a village in Assam and most of the actors and actresses were not professionals. “The main challenge for us was to achieve perfection in acting. The main theme of the film was women empowerment. We shot the film with some limitations, in animation on the other hand almost nothing is impossible. Another difference is that in animation we exaggerate things more compared to live action films in terms of the story or action.”

After the short film Devi he made some more award winning short and documentary films including Hands of Destiny, A Journey of return, Life in a Fishbowl, A Smile of Gandhi, The Bird Seller, A Lost Tune of Life, Surabhi and recently he has completed the post production work of a new short film  A perfect move.

Biju says the concept of film making is essentially the same in both forms - story, scripting, brilliant screenplay. “For those who love to film real people, objects and locations with a camera and if somebody is considering making the transition from animation to films, I think things get easier in live actions.”

Video Excerpt of the Interview

In cinema, an industry where the monopoly has always remained with large production companies and certain families, screenwriter and director Sandeep Mohan is drawing audiences by the droves in his own inimitable style. With five feature length films to his name to date, which he has written and directed, he is shattering the misconception that independent films are a thing of the past. He speaks n his writing process and his film Nirmal Anand ki Puppy, which won the Audience Choice in Indica Film Fest 2020 and the DCSAFF Film Festival Award for Best Script.

As a storyteller, how do you feel the film benefits from having the writer and director be one person? Does it bring a sense of cohesiveness? 

Well, all I can say is that it works well for me.

All the 5 films that I have made till now right from Love Wrinkle-free, Hola Venky, Shreelancer, Nirmal Anand ki Puppy and Danny Goes Aum have been written by me. I guess I don’t know any other way of making a film than spending months pondering over a script that has evolved from deep within me.

Also, I feel relaxed while scripting because I know I will be the one directing it too. Otherwise you have this constant thought at the back of your mind that you have to sell/impress someone else who will be directing it, and hence one can end up second guessing about the merits or demerits of the idea.This is not good for the film. The only person that I have to impress while scripting is me, the filmmaker within me. Also, all the quirks and details that matter to me which goes into the script remain till the end of the film. If someone else is directing my script, then they might not understand the value of these quirks and details in the overall context of the film. So yes, to answer your question, it helps. It is nice for the audience to know that there is very little filtering happening in emotions from the author of the film to the completed film – personally that is what I am going for. This is the challenge and the reason that I make films too. It is a beautiful feeling to be able to communicate what is in my heart to a stranger somewhere in the audience. Difficult to explain in words, but then words cannot explain everything right? The reason I have to resort to creating a film to express myself better…

The film centres around a family and their life after they lose their pet. Conversely, how did you feel your life changed after Hermione entered it? What is the importance of a muse for a storyteller and artist? 

In a big city, be it Mumbai or any other city in the world, people are longing for actual ‘connections’. I feel it is easier to make deeper connections with animals than with humans nowadays because humans are extremely busy. No one has time for themselves, forget each other! Technology has made it much more complicated too. Personally, I’ve never understood ‘busy’ people. I look at them with amusement most of the time.

I like the calmness of the pets – they are always happy to see you I think. They make time for you from their ‘busy dog or cat life’. In big cities, where families get to meet properly only over the weekends, I was making a case for having Pets to make us all feel much better connected as families. Hermione, my own pet, came into our life after my daughter insisted on getting a pet and convinced my wife – so I had very little choice. But after she came into our life, I got very attached to her. I can talk to Hermione about my dreams and my weird ideas about life – she listens to me attentively I feel. Also her being there keeps me in a pleasant mood since pets are always up to something that makes you look at life a little lightly. I have always been the fun loving guy but the challenges that I face making my kind of films were slowly turning me into some kind of a serious guy. Hermione helps keep me in good spirits mostly, and reminds me that my light-hearted playful approach to life is what has got me till here, so why change.

As for a muse, well, honestly, I don’t know whether she was a muse or a co-creator. I know artists talk about having muses, but for me, if I can put myself in a pleasant mood, I don’t need any external motivations or muses/people. I can very well live in the pleasant imaginary cocoon that I have created to inhabit, write and create from that zone. Sometimes I feel that the Cities where I set the story in, for instance Goa in case of the new film ‘Danny Goes Aum’ – they can be some sort of an inspiration for me. I don’t like to put too much importance on a human muse because then you are giving away too much of your creative power to an external source. If you cannot be your own muse, I would say, go get a Pet and enjoy your creative process. This did help me with creating Nirmal Anand ki Puppy for sure.

The process of writing is often lonely. How did you feel it change while writing this script with Hermione at your side? 

Writing is definitely a lonely process, but something I really love. I am a bit of an introvert who can be an extrovert for an hour a month!

It is a love-hate relationship with loneliness – I want it and I don’t want it, but mostly I want it since then I can concentrate on the ideas floating in my heart and make sense of them. Also I stay far away from the hustle and bustle of the film industry, so very less to zero socialising for me. The only outlet is to play badminton for a couple of hours every second day because I like it. Otherwise, my life revolves around going to a Cafe near my house which is my Office of sorts. Here I order my regular Green Tea and try to concentrate and ideate. Once I get tired, I go for a walk watching people go about their life, and then I go back home, do a bit of Yoga or meditate or go play badminton. I am always working on some script or an idea. Always. Being in the ideating space is a habit, I try to stay there – keeps me in a curious space.

Getting attached to someone deeply comes with its own pains as we all would know. Despite trying to live a reasonably detached existence, I was finding myself attached to the world of Hermione and dogs. The fact that dogs cannot speak like human beings added to my curiosity about them. The mystery. Also as a filmmaker, I make films about my immediate concerns, so one day I was thinking as to what would happen if you suddenly took this dog away from my life. Felt painful for me, just the thought. Made me uncomfortable. As a Writer, I need to go into uncomfortable zones to come up with new perspectives on life. The story of Nirmal Anand ki Puppy evolved from somewhere there. Of course, the film is not my life story, it is a story about the kind of people and families I used to see in and around the Powai area in Mumbai. This is an area which can represent the new kind of urban India – with lots of people from the corporate world living here, being able to afford a lot of things which their parents couldn’t have when they were growing up – big apartments in sky-rise buildings, cars, pets etc. There is a newfound confidence in this area. And naturally, the more material comforts happen, there is also a sense of sadness I felt in this area. As a filmmaker, I really wanted to explore it. I don’t live in this area, but i do visit a cafe here to write and explore…

Coming home from this cafe after ideating and writing the day’s quota of script, I used to find the family asleep since it would be quite late in the night. It is nice to see them all peacefully asleep. So I would tip toe my way into the house not wanting to disturb anyone in the house, but Hermione would still know it, and come and give me a nice welcome. As if she knew what I have been struggling with the whole day, trying to write something good. Then I would spend some time with her quietly, talking about what I wrote that day and she would stare at me like how dogs look at not-very-logical human beings. This turned out to be a productive creative process for me – to be able to talk my rough ideas out, verbalise them. So yes, I find ways to keep the process interesting or let’s say exciting. Writing can be lonely, but the onus is on me to keep myself stimulated. And yes, for Nirmal Anand ki Puppy, I have shared my screenplay writing credits with Hermione for all the patient listening hours that she offered me. Sort of like a Script Consultant/Therapist.

Through the movie, the emphasis is on subtlety to convey emotions. How do you as an independent filmmaker feel about the movie industry on this front? Are movies moving towards having larger budgets and less subtlety? 

If something can be said without saying it, it is nicer right? As it is, there is so much noise pollution out there. Maybe also the reason that I stick to my independent approach to making films. Because in the mainstream space, a lot of people get involved in the process, and they do get extremely panicky with this subtle thing. They worry that the audience would not understand some of these, but I have always trusted my audience because I feel I know them closely. I believe that they are way more smarter than what these people are willing to give them credit for. I write and direct for a person like me – a normal guy who operates out of a Cafe in Mumbai, who travels around India and at times to different parts of the world for Film Festivals, someone whose friends are mostly normal people from the corporate or the sporting world, someone who prefers to walk or take a rickshaw or local trains, someone who is in touch with the real world out there.

Yes, a lot of filmmakers who were earlier proponents of a different approach to filmmaking than the mainstream decided to give it all up, and joined hands with the very families that controlled the mainstream industry here. Now they are all one big and loud happy Bollywood family with the families still having the final word. This monopoly corporation of sorts have absolute control of the kind of films that will come out of here. They will decide what will get made, what will sell, what will get talked about as good film or bad. Their friends in the entertainment media space would ensure that whatever these people make gets the attention. They are feted for mostly mediocre films – some get celebrated more because they make something 10% better than these mainstream junk.

For me, I feel bad because they are keeping the bar very low when you compare it to global standards. The lack of competition will make anyone lazy. Same is the case here as these people are resorting to easier ways of making films – pick up remake rights and make a film. But how can competition or experimentation occur when these very people make sure that one cannot sustain oneself here if you follow a path different than theirs. Also, the money that they make is also getting bigger with Talent Agencies coming on board, so with it, they are getting scared of experimenting – why do something new when the old is making you and your cronies rich. With all this comes inflated egos and the belief that they own the film industry here forgetting that anyone can actually make films. But I am sure that this won’t last for too long. In every other sphere in India, you can see innovation – start-ups and young people working hard on interesting ideas to break out into the global marketspace. Create something of value that can stand out as unique and smart globally. But only in the

mainstream Indian film industry, do you see this kind of a ‘mediocre’ approach and aversion to innovation and experimentation. If someone experiments, they are looked down on as arty and discouraged. When did arty become a bad word in the world of arts? Yet the eternal optimist that I am, am still hopeful that this will change eventually since the audience is changing. Also, we have a lot of talent here who will eventually see through this and break out.

As for me, to be honest, I have been following my heart and doing what I wanted right from the first film – never followed any of these people much. Yes, hence I am not very popular with them, but that is fine. I am just glad that I managed to write and direct five feature films despite this system. As long as I keep my inner-voice intact, work very hard on my scripts and am disciplined towards my filmmaking process, I can stay away from the noise of these ‘experts’ and ‘monopoly structures’ and make a few more films before I die. I am always optimistic. Loudness cannot sustain itself for too long!

While shooting an independent film, do you find there is a deeper connection between the cast and crew? What are the advantages?

I am sure it is different for each filmmaker. For me, I do not outsource casting to anybody else. Nor do I conduct auditions for actors. I invite some people who are in my mind from previous interactions in life and we talk over tea in some cafe closer to my place. Sometimes I record on my phone or camera when they are talking about their life and other things. I put them at ease and then decide whether they fit the character in the script.

It is a lovely feeling to be able to give an opportunity to these talented individuals who are mostly ignored by the mainstream or relegated to smaller roles in bigger films. As for crew members, it is easier since I pretty much work with the same crew most of the time, and share a close bond.

For me, the most important thing I look for is talent, mutual respect for each other and their readiness to come with me on an adventure that I have envisioned. During the process of making a film, we are like one small family living through the ordeals of the filmmaking process together. But once the film is done, we all move on to other things in life naturally. Yet we all maintain a certain level of friendship when we get to meet. For me, sometimes the issue is that these actors remain etched in my mind as the characters from my film, and hence I try to keep a distance from them once the film is done. This way I can move on to imagining newer characters for my next film. Having said that, I am super proud of all the actors and crew members who started off with me in various films and are doing good work in the industry now. I always wish them the best in my heart even if I am not very good at keeping in touch with them. My introverted nature takes over once the film is done and then I prefer to spend time with myself and my quiet Cafe lifestyle. Those who know me understand this and leave me alone.

Two National Awards, 1 Emmy, 2 Art Directors Club of New York Awards over 35 other awards. RAFEEQ ELLIAS has travelled the world capturing pictures for Japan Airlines, Time Magazine, The New York Times Travel Section and for Indian magazines too. Rafeeq’s public interest films for UNICEF were broadcast worldwide for which Star TV received an Emmy Award at the hands of actor Mia Farrow in New York. Rafeeq’s pictures and films have a high nostalgia quotient, but he is also all for change. Below are his thoughts on how to tell a story while following one’s heart. 

What are your thoughts on how India is portrayed in films, advertisements and photographs today? Ambassador cars, local food, queues for cinemas, the hawking of wares, almost everything is changing in modern India. What do you cherish about the early 20th century, and what do you miss the most?

I try not to be hopelessly romantic about the past. In fact I must confess I do like change as long as it is equal or better, not worse, than what precedes it. I began photography and, later, cinematography, with analogue film and edited on a Steenbeck (Legend of Fat Mama was shot on a bulky 16 mm camera with an equally heavy Nagra sound recorder) and now I am almost wholly digital; working more compactly, more discreetly and more economically. Much of the 20^th century coexists with the 21^st in our country and that’s what I love about it. The Ambassadors soldier on in Kolkata with an eco-system that cannibalises and makes spare parts and service them. Bombay still has some amazing Irani restaurants (still not on Instagram!) with their cuisine fairly intact. There are places where time continues to stand still. I find myself smoothly transiting multiple worlds.

You are a master storyteller, be it through your photographs or films. You’ve said that your experience with still photography has changed your cinematography and how you view it. Conversely, after becoming a filmmaker, have you looked at advertising and still photography differently?

At 72, I feel I’ve packed in several lifetimes because of where I grew up, where I lived and where I travelled at different times and the incredible and wondrous serendipity that I experienced at every turn. I am the sum total of all the people and experiences I stumbled into and these do make the most amazing stories.

I enjoyed each phase of my life including advertising, which can often test your ethics. But I always joked that it was not me but my ‘evil other’ that worked in advertising. That is where I learnt so much, about production values, about precision, discipline and deadlines… because advertising is so commerce-driven.

I learnt from positive examples but also from negative examples; and you can learn from both.

But I always also had another life outside advertising, which involved travelling and discovering the larger world and thus being part of a larger universe. Nostalgia has the most incredible power; it takes the best from memory that we can all joyfully partake and share; it is evocative, aromatic, even romantic and it has space for the most delightful (and forgivable) exaggeration.

Moving from words as a copywriter to stills to moving images was inevitable and the three do continue to coexist. Shooting films however is undoubtedly the most life-changing of the three; it is perhaps the most effective as a vehicle to tell stories to a larger public across  all strata and divides. Beyond words and most of the time, beyond a single picture.

Do I look at advertising and still photography differently now? I guess so and every now and then I do get commissioned to produce advertising pictures that are gritty and slice-of-life for a particular product. Even my fashion pictures were invariably set in unusual locales like Naples and Sicily, Morocco, Death Valley California, etc.

Is there any documentary that made you fall in love with that art form and inspired you to create your own documentaries? Chronicler-historian Rafique Baghdadi in your film Do Rafique, gives us a huge list of yester-year legends…and also about how he would imitate Dev Anand. Do you have your own story to share about how you took to films?

It was my girlfriend who became my wife who triggered my love for cinema. Her college years in Kolkata exposed her to film societies and great cinema and she yanked me out of my love for Bollywood into world cinema. Blame her squarely!

In fact, she was studying television then and auditioned me for one of her student films. And that was the beginning of our friendship. It was the role of a lifetime!!!

You have travelled around the world and your work is reflective of your journeys. What drew you to ballet and capturing the art and performers? 

Again, it does have a lot to do with serendipity. I had a client who published several airline inflight magazines in Asia, with a passion for ballet and opera and great connections in Europe, the former Soviet Union and Central Asia. About 25 years ago, he decided to create an annual festival of dance and music in Thailand.

He knew my love for food, wine and travel and lured me into doing a project every year that involved photographing the most amazing ballet and symphony orchestra, completely pro bono. Except that he would provide all travel cost and my “assistant”, my editor-publisher-poet wife Bina Sarkar! I thought it was a win-win deal and we enjoyed travelling multiple times to theatres in Moscow, Novosibirsk, Uffa, Tashkent, Bucharest, Moldova and other cities over the years. Watched and shot great shows and had enormous access backstage as well.

Ballet of course is the summit of all the performing arts. The sheer beauty, grace, precision and agility has no parallel. That with the most delightful storytelling. Makes you a child all over again. A great symphony orchestra is a close second. It’s the ‘Imax’ of the performing arts with its scale and spectacular grandeur. The opera is in comparison is a more acquired taste. Besides the performances, the theatres in each of these cities are also architectural splendours; like great places where we go as pilgrims, humbled by the scale around us.

Such as with the Chinese community in India in The Legend of Fat Mama, do you feel that more films and documentaries should tell the stories which have been hitherto untold? Apart from the aesthetic appeal, is there a higher purpose to these films? How  do your films (this one, Beyond the Barbed Wires: A Distant Dawn, What man, Joe, Do Rafique) reflect all the values you hold dear in your life?

Documentaries can and do have a higher purpose, reveal to us things we didn’t know, stir our consciences, energise and motivate us to work for the greater good.

But I do try to make films that are devoid of rhetoric, where I want to share my wonderment, my nostalgia, my anguish and my joys.

My BBC World film on the Chinese community in India is a charming introduction into the history, foods and festivals of a tiny minority. But it is also revelatory when it talks about the 1962 India-China war and the incarceration of the Chinese in its aftermath; much like the experience of Japanese-Americans after Pearl Harbour during World War II. “Beyond Barbed Wires” went a step further, urging people and governments to acknowledge and heal the scars of 1962.

“Do Rafique” is complete, unabashed nostalgia for a time bygone. When cinema belonged to everyone, tickets were cheap, the melodies were forever. The age of the algorithm-driven movie was not even on the distant horizon.

While it is true that commercial success should not be the main focus of any art, it does widen the audience and the impact. How can Indian documentary makers create authentic stories while laughing to the bank? One wonders if Joe Vessaoaker the protagonist of What Man, Joe could actually have lived a more affluent life if he had tried to make money from his music. How can any artist focus both on his art as well as on making money, without compromise.

To go laughing all the way to the bank, you have to be cynical and apply the exact same instincts that you oppose. Great documentaries have to be driven by a higher purpose. Having said that, if a documentary incidentally recovers its costs, helps reward the makers, that is not something to be sniffed at. If you are a full-time documentary filmmaker, you have to earn a decent living. And documentary filmmakers do have avenues for receiving funding through grants globally. It is the individual musician that I would certainly worry about. Joe’s predicament is particularly complex. The tradition of funeral bands is dying; live performances at weddings and other festivals are getting replaced by DJ music; it’s the cruel march of time. Teaching music professionally remains the only viable source of income.

Going forward, how do you feel the industry and the Films Division can move towards appreciating the art of documentary films and promoting it? What is the role that the filmmakers themselves play in this change?

The Films Division has an incredible history and is an unapparelled repository of films. Over the decades, its own inhouse teams and the outside directors it commissioned from time to time, made great films. Some of the films, made in a heady post-independent India, may seem propagandist now but they are great archives nevertheless. It is important not to see the Films Division and documentary cinema in the usual profit-and-loss template; rather as important national assets. The information and the debate keep us vibrant as a society.

We always talk about inspiration and role models. Clearly you have passed on a very rich legacy to your daughter. How would you describe the special relationship that exists when two artists in a family collaborate?

She’s an actor and as I tell her friends, “I am actor ka baap”. But on a more sober level, we have a very robust relationship with space for disagreement. We discuss early ideas, then use each other as sounding boards at different stages, but we seldom actively collaborate. Theatre is quite radically different in its actual processes and its logistics; a day to day physicality that continues through each performance. Just incidentally she too has made a film, a work of short fiction, in which my involvement is very occasional and mostly technical.

If you had to share one tip with young filmmakers, what would you focus on in terms of capturing stories, and in terms of technique?

I know it is not earth-shaking advice, but just go and make your film. Make mistakes. Get to the end. Place it in the public arena. Simply because , with all the technology at our finger tips, there’s no time like now!

T for Taj Mahal by Kireet Khurana is the winner of 7 International Awards and 25 official selections world over. It was Kireet’s first directorial film, not his own story but that of his late producer Abis Rizwi who died in a terrorist attack in Istanbul. Kireet was already in the social space and moved out of the film cocoon in Mumbai to traverse villages around Agra where the story is based. He wanted to move closer to the ‘disenfranchised’ with the story where a villager starts a dhabha and asks the tourists buying his food, to pay by teaching the children of the village.

The children were cast from a local school, with auditions done to choose those who were “assertive” and not “scared of the camera”. Kireet has said that there was an imperative to cast locally so as to convey the flavor of the place and the situation.

Kireet is committed so making films for change. His 2015 film Komal was widely acknowledged as the most defining film ever made on child sexual abuse. The film was made compulsory viewing by the Governmen of India in schools. It has been screened in schools and seen by more than 200 million children in India. It has been dubbed in 15 Indian languages 30 international languages.

What were the major influences in your life which shaped your film career? Your father Bhimsain ji was a doyen in this space. What were his influences?

My father Bhimsain (https://www.youtube.com/watch?v=s0g1-SlceD4 ) was a fine arts graduate and a trained classical musician. He was multifaceted and industrious. Starting with humble background, he went on to win 16 National Awards for his works besides many other international awards. Given the environment at home and the fact that he was an Indian animation pioneer, it was but natural that he was the strongest influence in my life in the initial years. Subsequent to which I joined the prestigious Sheridan College, Canada where I did a 3-year filmmaking program specialising in animation. Apart from this, I took to reading philosophy at an early age, and J Krishnamurthy’s books were a significant influence in shaping my thoughts and ideology.

Your films nudge the audience towards social issues and subjects. What are the cinematic devices most powerful in communicating this?

Ever since I graduated from Sheridan College and started working, I have been making films on various social causes with National Film Board of Canada, UNICEF international and many UN bodies apart from others. They are an extension of me. The medium, whether animation, live-action, docu-drama, or fiction feature is a method is unique to each film as the script demands that specific treatment. I am blessed that we have proficiency in each of these areas and are able to pick and choose how we want to narrate our film without any limitations.

What is the state of script writing in India? How can one train to put together the various elements that go into film making. You have both a family background as well as an educational one. What would you advise looking out for when venturing into films?

Films are a very crowded space. With more and more emerging talent coming into the space each day, it's getting tougher to survive and succeed. Apart from training, I would advise the youngsters to cultivate a strong network, try work with the best and most importantly be extremely patient as results won’t be coming soon. It’s a tough battle out there and only the one with the right temperament will come on top.

T for Taj Mahal is a powerful film, taking its name from a popular monument. What made you choose this name and how did you plan to juxtapose your story arc with the popular destination?

The basic 2-page story of T for Taj Mahal and title was already done when I entered the project. I am credited with co-writing the entire script/screenplay and directing the film. When I read the basic story, I was excited with the possibility of the film, but to develop the script I had to spend 6 months in the rural areas with the co-writer to understand the milieu, texture and nuances of the hinterland. It was an enriching and exciting journey.

What were the special moments in the film that were difficult to shoot but were truly impactful?

I think the most difficult moment came in after the shoot. As soon as we were going into the post-production, we lost our beloved producer – Abis Rizvi in a terrorist attack in Istanbul where he was holidaying. It was very tough to finish the film without him and sell it. Happy to share that the film has been picked up by Salman Khan Films and they will be releasing it soon.

The despair of the poverty stricken family worsens, when the sole bread earner of the family dies suddenly.  The wife is now left with the tough choice of pulling out her children from school and putting them to work, or find a way to educate them.  The story of Protyush (Ushering a Crack of Dawn) directed by Arindam Barooah is about the struggles faced by many families across India, as they try to balance hopes for a better future with pressing day to day needs.

Arindam is not a stranger to these pressures and brings them to life with great sensitivity in his films. Protyush (Ushering a Crack of Dawn) was awarded Best Short - Jury Award Special Mention in the 2020 Indica Pictures Film Festival. Arindam Barooah is also known for Panisokori (in the swirls) (2021), Daag Acche Hain (The Broader, The Better) (2019) and Endharor Bheta Bhangi (2018)

Arindam hails from Duliajan, Assam. As a child he loved watching films but did not venture into filmmaking until after finishing his engineering. In 2014 he shot his first movie titled ‘Eti Notun Prabhat: A New Dawn.’ In this interview he speaks about his inspiration.

You have grown up and lived in a land where life is not very easy for many people. You also have described a life lived with financial pressures. How does this sensitise one and make one empathetic to the struggles of others that you have portrayed so beautifully in your films.

I believe the surrounding is one of the best sources of inspiration, ideas etc. I have been fortunate enough to have met people in person and gotten to know them. It's the interaction and experience that led me to make films based on their life and put forth in front of the world.

In Protyush, you have dealt with the theme of an impoverished woman who has to make a critical decision on how to live her life on her own terms. Is this film inspired by any real life story? 

As I said, the surrounding is one of the best sources of inspiration. I have come across few women who have been financially weak and are brave enough to live lives on their own terms.

You have dealt with poverty, stigma, hardship, hope through takes and shots that we describe as vilambata kalam or very slow tempo speed in South Indian Carnatic music, that allows time to dwell on the note. How do you execute this technically to describe the emotion?

Most of my films have slow paced treatment. I let the viewers experience the passage of time with respect to the characters. The treatment forces the viewers to stay with the state of mind of the character's emotion on the screen. Most of the frames highlight layers of emotions hiding beneath the surface.

You have shown great integrity to the themes by pinning them in their own environment. How do you research and execute this for greater authenticity?

Whenever I get an idea or someone shares a story to make a film, I make an effort to know about the subject/theme beforehand. I try to make myself comprehend the essence of the subject. I make a point that most of my subjects should be socially driven. They should be also from the audience's perspective, relevant to today's time and should deliver a certain message to society.

Could you briefly describe how your filmmaking has changed or expanded over the years from Panisokori. 

I have become a more mature and detailed filmmaker now. I am now not in haste to do something good rather give time to make the output better. I had learned to work smoothly with a professional team where I believe filmmaking is a joint effort. I try to observe things more minutely especially both in aesthetic & technical ways.

Where do you place the success of your film from the great pool of creativity that is emerging from Assam?

I would say it's still a long way to go. Panisokori being an independent film would still have a niche audience. It won't attract a mass audience considering the subject and treatment we portrayed in the film. However, the audience's taste is changing towards better content oriented films over masala films.

Abanti Sinha’s work In Search of Parbha Chhau (Parbha Chhau-er Sandhane, in Bengali) is all about finding the most local of stories, happening under our eyes, but escaping our attention. In the lines of Kannada film Kantara, and even the book by British author Pepita Seth on the Theyyam rituals of Kerala, the Parbha Chhau is facing the prospect of losing its practitioners. Her film Bhumchu -The Drops of Eternal Life won the Best Documentary, Audience Choice, in Indica Pictures Film Festival in 2021. In this interview Abanti talks about her passion for preserving under threat traditions.

What sparked your interest in old tales and stories of vanishing arts?

My passion for travelling to the nooks and corners of my country, to unknown places, interacting with people of different faith , beliefs and culture -- gave me the privilege of spontaneously mingling and  interacting with people of grass root, getting involved in the  truest sense to capture the essence of their prosaic life . Hence as a director of documentary films, my narrative found a way of unleashing lesser known or unknown subjects, which remained obscure down the ages.

You must have spent a lot of time and effort tracing the last few practitioners of the Parbha Chauu. Could you please share your journey of research

Way back in 2012 I met a group of people in Jhargram, who were performing Purulia Chhau. They revealed that there had been a different form of Chhau in this region which lost its identity as there were not many people left to carry forward the unique form. It was my beginning of a long journey to search for the roots of this dance which they described as Parbha Chhau. I came several times to this region each time following the information to track a resource person. And finally I met the King of Chilkigarh Palace, Raja Birojesh Chandra Dhabaldev, whose family once endorsed and patronised this dance. The hunt for two elderly dancers thus started and finally I could film this Documentary in 2018-2019.

How important is documentation and subsequent showcasing in film festivals to     preserving these rare art forms under threat from modernisation.

The views of eminent scholars and art historians have been incorporated in my film to emphasize the historical context and the inner value of this dance, thereby adding an archival significance in preserving the essence, aesthetics and a rare culture form of our country.

A proper knowledge and concern about such rare and dying art forms can be created only when it is brought to light by an audio visual documentation. My aim for making such documentaries is that, even if not revived, at least it can be preserved for the posterity considering its antique value.

Every documentary film-maker struggles to mould bits and pieces of gathered information into a film, showcasing them to a greater audience become a primary intention. A world wide consciousness and exposure on the subject can only be done by showcasing it in Film festivals which includes a myriad global audience. This paves a path not only to discover the subject but also create an awareness to preserve the dying heritage before it fades out completely.

Government backing and funding can go a long way to producing such films. What role do you envisage for the government for producing such films?

Procuring Funds for Documentaries is still the greatest challenge for Film-makers in India. Government Funding can be a backbone for such endeavours. But in most of the cases subjects remain obscure, or apparently may appear insignificant and hence the need for preservation is not perceived. As a film director and researcher I think I could play a vital role in at least help noticing subjects which may otherwise fade into oblivion.

What is the curiosity of non-Indians towards both the art forms and the films?

India has always been a land of wonders and the International audience is still amazed with the variety of art and rituals, cult and culture, the people-- their living, the myths and stories culminating in their daily lives, which prevail in nooks and corners of India. This according to me will continue to be relevant and interest the global viewers even in the days to come.

Can urban India  and international audiences relate to such very localised narratives given the rapid cultural shifts that are happening?

Culture is the identity, the face of a country. The more localised the cultural practices are, the better understanding we can have of its historical and socio-economic perspective. The more aboriginal it is, the better we can realize the indigenous elements that it nurtures.

Though in this fast changing world we are becoming a part of the same global community and trying to adapt ourselves with the rapid cultural shifts— a time of crisis is sure to come when again we will start seeking our individual identities, and searching our roots. Connecting to our heritage shall then give a better reason to regenerate and re-grow.

What is the mood among the artists? Is there a sense of hope or despair? How do we do justice to this honest emotion?

The artists, dancers and accompanists who knew the actual form of  Parbha dance is no longer alive. The young generation tried to revive the form but there is great lack of guidance and equipments. The passing away of Raja Birojesh Chandra have also added a sense of despair to the dancers, since he hosted the dance event occasionally. But there is one ray of hope. At least the masks have been restored by the Government at present. The dance tradition may be hard to continue without proper training but I believe, the documentation shall remain as an invaluable asset for further research and restoration of this dying form.

Video Excerpt of the Interview