On
Rajat Kapoor
I couldn't quite find a Malayali actor to portray Unni
Namboodiri - the very features, appearance and natural
ease. I guess it would've been possible to find a new
face and go through the paces; but then I thought of the
film's potential for a nationwide appeal - something that
having a recognizable face (like Rajat Kapoor's) would
add greatly to. I'd been acquainted with Rajat's theatre
work. Shyam Benegal's 'Making of the Mahatma', TV serials
like Byomkesh Bakshi - a very different subtle performance
style he has. Being a theatre person, his work ethic too
is refreshingly different. He brings a totality to the
characterization, coming from an in-depth study of its
nuances and all. And when I got down to working with
him first hand, my expectations weren't belied. He won
the Kerala State award from among all leading actors
in the state - coming from a Punjabi, who's playing
a Namboodiri, an old Brahmin's character; and to gain
so much acceptance, I thought it was exceptional. My
casting judgment was right I think.
On camera
The camerawork was done by Alagappan. He has worked
with me for a long time, in television. He knows my
style well, my taste. Right from the early days, he
has contributed to research into the subject. And he's
done an excellent work; winning the State award for
Agnisakshi.
On art direction
Though we were working on a meagre budget; Premachandran
did a commendable job in recreating the period. It was
a lot of strenuous, detailed work - done very effectively.
On music
Songs & music direction were by Kaithapram. The
Namboodiri way of life being well documented and well
known, I wanted a score that would mesh with this naturally.
Several traditional Namboodiri songs have been included
in the film - as in rituals; rather than as song numbers
inserted into the narrative. Being thus situational,
we could lead the music in a unique direction. Background
score was by M Jayachandran, who was a new experience
for us too. He was able to lend a rare poignancy to
it.
On editing
We had to convey the story's sensitivity - a woman's
angst. And only when it reaches the editing table do
you get the first authentic feedback of your work. Your
editor really reflects your taste.... and whether the
result you'd intended has been achieved - the first
judgment comes from the editor.
While shooting, on location - what with actors, the
producer, cameraman and all - the impression you get
right away is in a rather 'exalted mood' I'd say. We
ourselves are very excited, euphoric then. And so I
usually don't see the rushes of my film anytime soon
after. Only after 1-2 months, do I begin seeing them;
in a new light so to speak. 'Cause the various prejudices,
viewpoints of the film-making experience wouldn't cloud
me then - and I can see it in a more objective light.
I'd say that on coming back, the judgment of the editor,
at the editing table - that's what I'd value most. |
