Certainly. That is exactly what happens. When I read Agnisakshi ten years back, and it troubled me since; there was borne the idea that I should make a film or a teleserial out of it - there was an identification with the story itself. Truths that I could not say myself were said by Lalithambika Antherjanam; how best can I reach these invaluable insights, thoughts, words to the common man?

About Agnisakshi, what is its contemporary relevance?

I've never felt an irrelevance in the story. Unfortunately it has been linked mainly to the upheaval literature of the '40s and '50s. It does have stories of social reformation and. But fundamentally it is the story of the human soul; a cry from within. A marriage that can never attain peace - it coming full circle. It could happen in any community; at any point in time. Let's see what happens here - there are two characters - Unni Namboodiri and Thethi; though they both love each other, they are not able to find happiness in their lives. What is the meaning of happiness; how to achieve it? So do we set aside our physical body to attain that ulterior realm of happiness? Such questions, such fundamental, such universal questions are what the novel Agnisakshi raises. That is why it had the power to attract an artist like me, in another medium, in another generation in another context. Which means it is not just about reform and upheaval. It contains issues that touch the chord of human relationships.

In Uyirthezhunnelpu and Agnisakshi we find a central character deciding to go ahead in a particular direction; and then going back on it - a rebel who later decides against it. Or to put it clichéd, an anti-revolutionary streak in the characters. Is this deliberate, or has it simply happened?

That's a good observation. I haven't looked at it on that light. But probably you are right. Calling it anti revolutionary would be an oversimplification. Labeling makes it deceptively easy. But doubting people interest me. I tend to think it is a reflection of my own life. If one could find a complete answer to all these, it would have been so quick and easy. What's right, what's wrong? So it's the men who walk the grey areas in between that are more common. I see more of them and relate to them. Maybe it's 'cause of that.

The problems of life; we can't find easy solutions to them.

Precisely. That's how the arts and means of communication evolve. What emerges as art is something that we can't otherwise express, isn't it. Smt Lalithambika for e.g. it is some of her inner traumas that have taken the shape of Agnisakshi. The societal relevance is on one side; its spiritual conflict on the other.

Coming to the casting; the choice of Rajat Kapoor has proven to be a wise one. How did you come to believe that someone from outside our milieu, I'm referring to the specifics that the story is set in - a particular class of people; in a bygone era with its own set of values, rituals, a strong sense of tradition; how was your conviction in someone like Rajat Kapoor founded?

When we planned, it wasn't like we stumbled upon Rajat Kapoor in the first place. Keeping in mind the commercial prospects for the film, we did speak to a few leading actors out here. But for various reasons it didn't work out. That's how; and Rajat is someone I've taken note of in his various other performances. I've seen his theatre works while in Bombay. Have seen his ad films, works in television; he's worked with Shyam Benegal in films. I'd say that what drew me to him were his physical features. And once I was reconciled that we weren't going in for a Malayalam actor to play the role, the personality that came closest to the Unni Namboodiri that I had in mind was Rajat Kapoor. And it's not just the physical features I'm talking about here; you know it was his behavior pattern, that inner quality in him - his gentleness, humility that matched so well, so naturally with Unni Namboodiri.
And Rajat is a fine actor, with a great deal of devotion, intensity; has a theatre of tradition behind him; he took great pains in trying to understand the lifestyle of the Namboodiris - and he's a Punjabi; had nothing in common at all with the culture we were portraying. But it was his effort and with his talent ...

Aha, so he actually studied their lifestyle?

Yes, yes, their behavior pattern and all. We were shooting in an old Illom; and kind of modeled the character of Unni Namboodiri on the patriarch there - his walking pattern. So with great effort and hard work, we have achieved this.

On the other side; the image of Shobhana - that of an actress in the popular imagination; has that image affected somewhat the character she plays in the film?

Well many have hinted at this. You see this was a work that was always going to be difficult to cast, what with the generation gap in the narrative and all that. And so we've had to take some tough decisions on the casting, wasn't exactly a happy one for all. I guess within our limitations we did our best.

When it comes to the characterization of Sreevidya as Thankam . . . .

Exactly. 'Cause in my knowledge many prominent directors before me had given up on the idea of Agnisakshi as a feature film mainly due to the problems in casting. So the criticism wasn't entirely unexpected; with regard to some inconsistencies that we see in the film. But then, given such a difficulty I felt it was better that this story be told than backing out of it altogether. So we overlooked it.

Going forward a little, to your newest production Bokshu the Myth. In the present day context, the fascination for myths, fantasy; especially in the international scene, seems to be a lucrative trend. We see such films sprouting up frequently; and becoming huge successes too. Is Bokshu driven by such a trend; or has it remained with you else wise too?

Bokshu is an adventure film. As a genre, adventure films always will have an enduring appeal. And cinema is primarily a medium that can incorporate adventure, fantasy; thanks to the dizzying technical effects that we're capable of delivering today. So these factors were important in making this choice. Bokshu is based on a Hindi novel by Ganga Prasad Vimal titled 'Vyaghram'. It was writer Zacharia who suggested it to me. It was while we were discussing on several possible prospects that he suggested I read this. It is a mystery novel - of a tribe in the upper reaches of the Himalayas - their belief in a magical power called Bokshu - an adventure story revolving around this.

Following Agnisakshi, I was with its producer Dr Venkatesh Parasad in Chicago when he expressed a desire to make an English film - one that would have an Indian content; with an American point of view, an American perspective. So this one quickly came to mind. And so we developed it and brought the story into another kind of format. Screenplay was collaboratively by me and Sasi Warrier, a novelist, and Richard Stanley an American writer. The cast has American actors; noted Shakespearean actor Stephen Berkoff has a leading role in the film.

Are the technicians from abroad?

The cameraman is Danish - Robin Fosberg, who won the best European cameraman award 'Eurimages' in Europe last year. Many other technical hands are Indian. Editing is by Sridhar Prasad. Sound recording is notable in that it uses live sound. Most Hollywood films rely on live sound. It is only in India that we have such extensive use of dubbing.

Coming to live sound, is it that we do not have the technical expertise for live sound recordings, is it something that we have yet to catch up on?

Well, I see it as a problem with our attitude. My first two telefilms both used live sound. Looking back now, it now sounds unbelievable. Without a generator, with available light, a little spotlight - it was a telefilm that used live sound recording! It was done within our limited resources then. Our technical people as well as our actors have a viewpoint that acting, as in dialogues, is a separate entity. This makes it very easy for them; they don't have to study their lines, silence is not necessary on the sets. So that they can carry on with their cell phone conversations even as acting goes on in a corner. This shows a lack of devotion in our creative endeavors. In the west, they wouldn't take a 'dubbed', a fully post synchronized film, as they call it, seriously. You cannot take a dubbed film abroad seriously. It is such an important thing. But here we have this 'prompting' and all these dubious practices - which have destroyed the concept of live sound. I would like to bring it back. Often due to limited financial means I haven't been able to do so; but my efforts shall be geared towards this.

The live sound for Bokshu was done by Bombay based sound recordist Nakul Kamte. He'd won the National Award for the sound recording of Lagaan. He has his facilities all in Bombay. And Bokshu has a very enjoyable, a very real sound track.