Well, there was an unfamiliarity yes. The crew, particularly the lighting crew, and other technical assistants - are all used to making a big ruckus on the sets. And since they do not have a habit of concentrated work, we had lots of problems. We had to use signboards saying 'this is a live studio', you know 'this is a hot studio', 'a hot floor, so please maintain silence.'

Once they got used to it, the actors; and there are a sizeable number of Indian actors too in the cast - all found it a great experience. For an actor to have fullest satisfaction, nothing can replace the sound that he actually uses while acting.

Casting would also have been a challenge...

Yes, casting was very important. We had English speaking Indian actors. But you wouldn't find them speaking American English; they speak natural Indian English. So we worked with Irfan Khan, Bombay based actor from the National School of Drama, Nandana Sen, Amartya Sen's daughter, Malayalam actor Vineet, Harish Patel and Mita Vasisht; both based in Bombay - all spoke natural Indian English; and the quality of live sound is amazing.

From Uyirthezhunnelpu, Nilavariyunnu, Maranam Durbalam and then onward to Bokshu; though in subject matter there are similarities, there are wide ranging differences too. We get to see a great range in your works. Now, the language of cinema is centered on several aspects - its technique, its structure and so on. Who are the directors who have affected you, influenced you?

Well, to tell the truth there is no single person. As I said earlier, my film and television works - as you've said they span a range of styles. On the one hand you have such films as Uyirthezhunnelpu; and on the other you have Vishwa Vikhyatamaaya Mookku; a very caricaturish animation film. So the films all fall into different patterns. I wouldn't name any single influence; but I'll name the filmmakers whose works I like to see. Among Western film makers, I enjoy the films of Woody Allen immensely, Cuppola and ... there's a whole list of American directors. In European cinema there are stylists such as Kieslowski, Tarkovsky. Italians film makers such as Fellini have impressed me tremendously. So there are ever so many.

How about Indian film makers?

Among new Indian directors, I find Mani Ratnam's work very touching; it has guided me at various moments. So you see it's just that there's no categorization in my liking.

So how would you assimilate all these influences; all these names you've mentioned....

Exactly, it's an eclectic collection. Absolutely. And I don't think these are any contradictory influences either. In Malayalam, in craft and talent there's Siddique (of the Siddique Lal duo), who's really at the forefront. And just as I enjoy his work and its nuances, I would enjoy a film by Adoor Gopalakrishnan. Which is possible; they don't actually stand at diametrically opposite points. It's just two people, with their own viewpoints, their own manner of expressiveness. That's all the difference there is - I don't see a divide in this.

Ultimately, it's more than technical expertise. It's what you want to convey, you know, the finer element. I think the greatest danger would be that a director be known solely for his technical ingenuity. One should find a rarer quality of truth that can be expressed. Other gimmicks are all temporary - would change depending on the fashion.

How about the music; here again we find many changes. In Uyirthezhunnelpu for example, there is extensive use of Western music. Thereon, again there are several changes. How do you make these decisions?

While on this, music as I've used in the telefilms particularly, is the available music.... which is not actually right. It's another's rightful intellectual property. Its use deprives our composers of an opportunity too. And so now I look back on it with a measure of guilt.

But then, there's something like the permissible length, isn't it?

I'm not talking about the legal issues here; I'm talking about the ethical issues. When I speak to my composer friends, this issue does come up time and again. But basically, I started my collection of music several years ago, Western composers, film tracks were a particular interest of mine. It gives me great pleasure to listen to soundtracks and instrumental music. I've never listened to songs as such; and their lyrics - have never been attracted by them. Almost all my collections are of instrumental music of different cultures...

So is your listening visual oriented?

Certainly; the visuals would induce a particular kind of music. And it is a part of my work, my enjoyment - listening to soundtracks and orchestral music is my great love. While I was at DD, I was in charge of the Western music and Classical music collection there. Thus I came in contact with music lovers in Trivandrum; their collections; and could use their music in various works. But basically I believe Western classical music is the ideal for visual accompaniment. 'Cause there is the concept of harmony in Western classical music that blends perfectly with the visual medium. It is quite unlike the pattern of Indian classical music. So Western classical music features in several of my works. It often focuses on a mood; in a linear manner so to speak. On the other hand, our music while being richer, is more stylized and moves in a different pattern - has a sense of rhythm and beat; whereas Western classical is harmony based; hence it has been useful for me. But later on, many modern composers like Philip Glass, Zibgnew Presiner, Kieslowski's composer have based their work on Western classical music; and I've used their independent works. So yeah.....