He had the audience floored with his debut film ‘Passenger’ that dared to walk an untrodden path. He had later gone on to direct ‘Arjunan Sakshi’ which had another pertinent social statement to make. Here is Balcony Beats in an engaging conversation with young director Ranjith Sankar, where he talks about his new film ‘Molly Aunty Rocks’, the new generation wave and how he thinks cinema has changed post-Passenger.

BB: Your third film ‘Molly Aunty Rocks’ will be out, come the 14th of September. Quite a different title indeed! Tell us what ‘MAR’ is all about.

Ranjith Sankar: The film, as the title itself suggests, is about Molly Aunty, a middle aged woman who works with a bank. She has been away from homeland for a while and has been living with her husband abroad. On receiving an ultimatum from the bank that she might lose her job if she doesn’t rejoin service soon, Molly returns to Kerala and gets posted in a village.

Molly is a raw woman, who exhibits very real and natural emotions. She is cheerful, angry and jealous like almost every other person out there. However, she is also a person who likes to live her life as she deems right. She goes out jogging in the mornings dressed comfortably in a three quarter trousers and tees, unmindful of the fact that her work out routine has managed to gain quite a few spectators in her vicinity. When Pranav Roy, a haughty IRS official walks into Molly’s hitherto contented life, issues crop up by the dozen in her world. This is where ‘MAR’ takes an interesting turn.

BB: What genre would ‘MAR’ fall into?

Ranjith Sankar: Right from the title, ‘MAR’ would be a light-hearted movie; it’s a simple satire. You might be well aware that the term ‘rocks’ is a usage that is not so common. It is not used by everyone even in real, and there are very few people in the film itself who realize what it truly signifies. It’s use in the title hence is satirical, and probably the only character in the film who understands the term in its right sense is Pranav.

BB: From the looks of it, ‘MAR’ presents a scenario that is drastically different from your earlier films. How much is ‘MAR’ a conscious attempt on your part to create a different kind of a film?

Ranjith Sankar: I’d say there is definitely an attempt to think different. But you need to remember that when you decide to make a film, what looks right at the moment feels right as well. You might be wrong or you might be right, but what you need most is a belief in your convictions. ‘MAR’ has been crafted as a commercial film, which we hope would be liked by the audience and which would be well-received. But do note that there has been no attempt on our part to force commercial elements into the film. The story and the characters in it have a commercial appeal of their own. We have made a film that we truly believe in, and we need to wait till the film is released to see if we have been right. And it’s exactly this uncertainty that makes film making very special.

BB: ‘MAR’ indeed has a rocking combo of actors, and Revathi, we hear, is quite a selective actor. Here is a film that has her in the title role, and how was it that you managed to convince her to do ‘MAR’?

Ranjith Sankar: I had planned another film before ‘MAR’ that had a very crucial role in it, which I wanted Revathi to play. Though she liked the story that I told her, she politely declined the offer, since she had decided that she would only do roles that tremendously excite her. She had even refused many an offer from Bollywood for the same reason. In the course of the conversation that I was having with her, she talked about the dearth of meaningful roles in our films for actresses of her age. She was the right person to talk about it, I realized, since she has been through this experience herself. Revathi has always been quite vocal about voicing her concerns on social issues or expressing her view points, and she wondered aloud as to why films like ‘Erin Brockovich’ never get to be made in Malayalam. While middle aged actresses like Julia Roberts or Meryl Streep get to experiment with a variety of roles in Hollywood, their Indian counterparts are forced to make do with meek mother roles.

Molly Aunty is a mother too, but what makes her different is that the film does not focus on her being a mother. It moves beyond her immediate surroundings and throws light on her individuality; her life as she sees it, for a change. I was told about this character by a colleague of mine, and Molly Aunty happens to be his aunt in real. She lives in Cochin. One of the most striking anecdotes about Molly Aunty that struck me is the one in which she goes to the post office having parked her car outside. Having lived for quite a long while in the US, Molly Aunty forgets to put on the hand brakes. She runs after the car when she sees it speediing down the road, opens the door and jumps in, fracturing her leg in the process. This was one of the first visuals that came to my mind when I sat down to sketch down her character. I have thrown in the characteristics of several other women like Molly Aunty in her portrayal ever since, and have tried to keep her as real as possible.

The idea of this film has been lying dormant for a long while in my mind, and when I told Revathi about it, she was quite thrilled. Efforts were soon on to make Molly Aunty reach out to the audience, in as entertaining a manner as possible. And now when I look back at it, I could confidently say that Molly Aunty is one of the best performances from Revathy, and would make a great addition to her highly remarkable filmography.

BB: Prithviraj must have very well realized that this is a film that puts the spot light on Molly Aunty. What was it that must have inspired him to be a part of ‘MAR’?

Ranjith Sankar: Prithvi is a very good friend of mine. I believe that he would agree to be a part of my film if I request him to, without even asking me about the story. But of course, ‘MAR’ offers Prithvi the role of Pranav Roy – the egotistic and powerful young man who is the perfect foil to Molly Aunty’s plans. Frankly, I simply cannot visualize any other actor as Pranav. Prithvi was convinced about the genuineness of ‘MAR’, which made him get involved in the production and distribution of the film as well.

BB: Music has not always been a strong point in your films, be it ‘Passenger’ or ‘Arjunan Sakshi’. We heard that a new music director- Anand Madhusoodanan – is making his debut through ‘MAR’. How important is music in ‘MAR’?

Ranjith Sankar: Yes, Anand is a talented young music director, and we have three tracks in the film – Molly Anthem, Molly Cool and Molly Locked. Just as in the case of my previous films, no songs in the film have been forced into the narrative. While Molly Anthem is all about Molly Aunty and the kind of person that she is, Molly Cool would dwell on the peaceful life that Molly Aunty has been living before Pranav breaks in. Molly Locked would have Molly Aunty caught in a corner, (no) thanks to Pranav’s ploys. The songs aid in carrying the story forward, as they had done in my previous films as well. When it comes to re-recording, ‘MAR’ in a sense, is a very difficult film and it requires a lot of maturity on the part of the re-recording mixer. The re-recording of the film has been done by Anand as well, and I should say he has done a brilliant job.

BB: How socially relevant a film is ‘MAR’? Would it be making apparent social statements as your previous films did?

Ranjith Sankar: What you should remember is that your basic view of films seldom undergoes any change. Cinema has emerged to be one of the most powerful media over the years, and I think each film maker has a distinct idea as to how to utilize it to the maximum. ‘MAR’ too has a social issue that it would like to discuss, and the very thought from which the entire film builds up is one that all of us need to be concerned about.

BB: There are many people who suggest that it was ‘Passenger’ that started off the new generation wave that has been rocking Malayalam cinema of late. When you look back, how much do you think cinema has changed post-Passenger?

Ranjith Sankar: Cinema has changed, no doubt, tremendously. I realized it all the more when I was at the studio to do the post-production work of ‘MAR’. I remember being at the very same studio years back for the re-recording of ‘Passenger’ with Sathyan Anthikkad in the next suite and Kamal in another. Back then, I was the only fresher around. This time I saw a bunch of youngsters there, all fresh, and their freshness resonating all around, right from the costumes that they wore to their footwear that lay outside. The new generation wave as you call it, is here for sure.

I do feel however that mere imitation leads a film maker nowhere. I also don’t believe that a new generation film is one that should tell the story of an extra-marital relationship or which should have an urban landscape as its backdrop. ‘MAR’ for me is a film that is ‘new’ in all respects, and just because the story happens in a village and its actors happen to be veterans, it simply cannot be categorized as an old generation film.

Cinema is always in need of fresh faces and fresh thoughts. You see, ‘Passenger’ was well received, because people could sense the novelty that it offered. But this originality that you associate with ‘Passenger’ is a thing of the past already, and it would be futile for me to live in its glory forever. As a film maker I need to look forward and move on. I need to have a firm conviction in my thought process. For instance, I would never be able to conceive a film that concerns itself with sex and promiscuity, because it’s not a film that I personally believe in. And if I force myself to create such a film just because I think they might end up being successful, the results would be disastrous.

Coming back to your question, I made ‘Passenger’ at a time when there were few people who were willing to hear out my story. The film was the fruitful culmination of a struggle that lasted for six long years. Today, the industry has opened up to youngsters like never before, and I hope this receptiveness is nourished even further through the creation of plenty of good films.

BB: We have been hearing about the new generation wave sounding the death knell on star supremacy. Would future cinema flourish without star support?

Ranjith Sankar: I think the very suggestion is absurd. Cinema needs stars to survive and flourish and it has been the case all over the world. We see that even the new generation films cast stars who have been successful as actors. Let’s face it; what matters is success, and rarely does the world follow failures. Stars will remain forever, their relevance would never be lost and there would be no cinema without stars. I will never be able to think of ‘Passenger’ without the stars – Sreenivasan, Jagathy and Dileep. Would you be able to imagine ‘Traffic’ without Rahman or the other stars in it? How would ‘Salt ‘n Pepper’ look like, without Lal and Swetha Menon?

Sometimes I even wonder about the need of this discussion. Because in the Malayalam film industry, the scenario is such that all the stars without exception would lend an ear to a creative director or a sensible script writer, when approached with a new story or idea. They are willing to listen to you, and if interested ready to make compromises even, so why should one even bother about the star supremacy that we are talking about? We should also not forget that a majority of the audience still head for the theatres to see their favorite stars in action!

BB: You said you are not equally comfortable making all kinds of films. What kind of stories impress and inspire you as a film maker?

Ranjith Sankar: First and foremost, I need to have a subject that interests me a lot; something which I feel is immensely significant and about which I have something very valid to say. The way in which I transfer that idea on to the screen would depend on a lot of things, starting off with the specific psychological state that I find myself in, at the moment. The initial thought is probably the most important, and everything else follows naturally from this very first thought.

BB: I read somewhere recently that ‘making a movie is like going to war’. There are so many things to be done and things get pretty much hectic; we hear of never ending schedules and films getting postponed endlessly. How do you manage to overcome all these and finish off your film right on time?

Ranjith Sankar: The film maker’s conviction, as I said before, is what matters most. We start off with a vision of sorts, and irrespective of its prospects, we need to be real convinced about the film that we are trying to make. All traces of ambiguity need to be wiped out, and everything laid out plain and clear. Your next task would be to convince the people whom you want to work with, and I make it a point to collaborate with actors and technicians who are able and willing to craft this dream of a film together as a team. Once you have chosen them, trusting them is equally important. With ‘MAR’, I am launching my own production house, Dreams ‘n Beyond, and I should say it isn’t that difficult for me to manage things. It’s when you decide on a star first and then start hunting around for a story that would fit the star, that things get messy. For me, it’s the other way round. I have a very clear picture of the film that I plan to make, and it’s then that I decide on the stars who would fit the bill.

BB: How far has being a software engineer influenced you as a film maker?

Ranjith Sankar: More than being a software engineer, I think the sense of discipline that is very much a part of the IT industry has had an influence. While working as an engineer, you get to interact with clients in the UK or the US. You might work with individuals in Hyderabad or Mumbai when you work on a project. Getting up in the mornings, having a shave, taking a bath, dressing up well, reaching office on time and being there till the end of office hours – there is a whole lot of discipline in my life. I often draw up analogies between a film and a software project, and I had presented a paper on the creative processes that are involved in both these professions in a software seminar as well.

BB: ‘Mayflower’ was a beautiful title that had caught our fancy, and we didn’t hear much of it later. What has happened to the project?

Ranjith Sankar: Nothing in fact has happened to ‘Mayflower’. I still listen to the beautiful songs of the film when I drive around. It’s a project that I am very excited about, and I feel the film has a very relevant subject that holds great significance in today’s times.

BB: Thank you so much, Ranjith! It was such a great pleasure talking to you.

Ranjith Sankar: Thank you!

Anu Mol

BB: I had the opportunity to watch ‘Ivan Megharoopan’ in the theatres, and what a performance, Anu! Huge congratulations on your portrayal of Thankamony in the film. How does it feel to be critically applauded for the role?

Anu Mol: Thank you so much! It does feel nice to see that your work is appreciated.

BB: We do know that you have been making waves as an actress. We would love to know what you are basically though.

Anu Mol: I had completed my engineering and was working as a VJ in a channel. I used to do a live show on television for about an year. And then movies happened.

BB: What was your motivation to become an actress? Which was your first film?

Anu Mol: My first film was in Tamil, a film called ‘Ramar’. I have been getting quite a lot of offers even while I was working as an anchor. But I had this feeling that I would never be able to do it.  I come from a village that is quite far from the highly urbanized world of films, somewhere near Pattambi, where I had never even had the opportunity to watch a film inside a theatre. Movies seemed a distant world to me that was almost phantasmal, and hence I had my reservations. But my friends egged me on to give it a try; they said I could always walk away if I didn’t want to be in films. You could hence say that I came into films by accident, but I have decided to stay on by choice. Today, the more I do films, the more I am fascinated by this industry.

BB: Could you tell us a little bit more about ‘Ramar’?

Anu Mol: ‘Ramar’ was a starting point for so many of us. The male lead of the film was Vinay who was being launched into films as well. The director of the film was Aathiraja, who had worked as an associate director with such film makers as Mugavari Durai. Here was a bunch of freshers coming together, and I was lucky to be a part of it, since it had a really powerful female character in it which I got to play.

BB: I remember it has been almost an year since I saw you for the first time on screen. The venue was IFFK, and I was walking out after the screening of ‘Akam’, when a friend who was with me wondered aloud, as to how they could have come up with such a perfect Yakshi. I agreed with her totally since your looks and performance in the film excellently matched up to our expectations of how Malayattoor’s Yakshi would be like. How did you come with such a confident performance as Ragini?

Anu Mol: (laughs) To tell you the truth, I was not confident at all. On the contrary, I felt real scared when I had to play such a complex character. I had read the novel long back, while I was in school, and though films were far from my thoughts those days, Ragini had managed to have a tremendous impact on my psyche way back then. I was asked to appear for an audition by Geethu Mohandas whom I knew, after the makers saw a still of mine from ‘Ivan Megharoopan’.

I came to know that the film is based on Malayattoor’s ‘Yakshi’ only at the time of audition. When I asked them about a few favorite scenes of mine in the novel, they were also quite surprised. It’s perhaps then that they felt that their choice was apt. I got the shivers when I was told that I would do the role of Yakshi, which a great artiste like Sharadamma had essayed to perfection years back. We had a workshop session that lasted for about ten days. Since the film was shot in sync sound, we needed to be trained.

BB: You worked with Fahad Fazil in ‘Akam’, and it was way before the current Fahad mania had evolved. How was it working with Fahad?

Anu Mol: Fahad struck me as an extremely cool person to work with. As a unit, we were all quite close. It was like a small, happy family, in which each member was quite passionate about the film that we were making. There was less of fun and more of serious work, but each one of us was tremendously enjoying every bit of it.

BB: ‘Akam’ was recently screened at the 15th Shanghai International Film Festival as well, if I heard right.

Anu Mol: Yes, the film was officially selected to the Shanghai Fest. It’s indeed a great honor for the film.

BB: You were quite lucky to be a part of ‘Ivan Megharoopan’ in which we saw you after ‘Akam’. Here was an excellent team of actors and technicians coming together for a film, but one in which there was more than four heroines. Were you not wary of being in a film as this, in which there is always the risk of being sidelined by co-actors?

Anu Mol: I always knew right from the start that this was a film that had several women characters in it. I had read ‘Kaviyude Kaalpaadukal’, and I also hail from the land where the poet had left his footprints on the sand. It was at the college in Pattambi that P Kunhiraman Nair taught, and I knew that Thankamony, the character that I played in the film lived at a place that was quite near. This was an added attraction for me to play the role.

Coming back to your question, I am not too much concerned about the number of heroines in the film; rather my concerns lie in whether I will be able to do justice to the role that I play, and if I will be comfortable playing it. Of course, I do not want to be lost in a crowd, and would like my role to have some potential to perform. If you have seen the film, you might have noticed that Thankamony has a story to tell; one that has been distinctly noticed.

BB: I ado agree. And the way the role ends, does leave a lump in the audience’s throats.

Anu Mol: Exactly!

BB: You were also fortunate to match your lips to the lyrics of the most popular song ‘Andelonde’ that had become a rage…

Anu Mol: It’s a fact that I love my song in the film, and I do agree that it has been sung amazingly well by Remya Nambeesan. But I love all the other songs in the film as well. ‘Anuragini…’ for instance has beautiful lyrics by ONV, a lilting tune by Sharrath and has been sung by the incomparable Dasettan. Kavalam Sir has written such beautiful lyrics for the song ‘O Marimaayan Kaviyalle…’ that has been picturised on Prakash Bare and Padmapriya, and the voices of Krishna Chandran and Mridula Warrier sound unbelievably appropriate.

BB: The reason I told you so, was because very rarely do you witness a crowd clapping their hands in glee when a song appears in a so called offbeat film like ‘Ivan Megharoopan’. I saw that the crowd was quite ecstatic when the song started at Trivandrum Sree.

Anu Mol: Yes…’Andelonde’, no doubt, has turned out to be extremely popular, especially by the manner in which Remya has sung has the song. Added to it is the fact that Remya has quite a distinct voice that is exceptionally appealing.

BB: We have also be hearing quite a bit about another film of yours that has been titled ‘Chayilyam’. What is it all about?

Anu Mol: ‘Chayilyam’ is a film that has been directed by Manoj Kana, the post-production of which is going on at the moment. K G Jayan is the cinematographer. It is a film that has been set against the backdrop of the dance form of ‘Theyyam’, and I play the role of a widow in it. It dwells on the highly challenging situations that this young girl goes through, and I should say it’s quite a different role.

BB: As much as we would often say that it would be unfair to classify cinema into art and commercial categories, it remains that all the films that we have seen you in, till now, fall into the serious cinema category. Does this suggest that you are a Smita Patil in the making?

Anu Mol: (laughs) Please don’t compare me to a legend like Smita Patil. Seriously though, I refuse to be tied down to a particular genre of cinema. I don’t believe in the commercial – art house classification either. I am more interested in the role that I get to play in a film, irrespective of which category you would like to place the film in. As I said earlier, I look forward to doing roles that offer me something as an actress, and I should say that I was lucky enough to do such roles till now. However I agree that the categorization remains and hopefully, what you mentioned would change when my next film is released. I have been paired with Kunchacko Boban in my next film ‘Bhakthi Prasthanam’ that has been directed by Babu Janardhanan.

BB: ‘Bhakthi Prasthanam – Gods for Sale’ has already managed to generate much curiosity, thanks to its intriguing title and cast. What sort of a role do you play in the film?

Anu Mol: I play an interesting role in the film; that of Chackochan’s wife, who sticks with her man through thick and thin. Chackochan would be seen in the role of a man who undergoes a lot of transformation in the film, and as he passes from one phase of his life to the next, the character played by me stays with him, offering support, correcting him at times and lending him strength. It’s a very positive character that I play in the film.

BB: How was your experience of working with Kunchacko Boban, one of the leading actors in the industry today?

Anu Mol: This was the first time I was working with him, and he is an extremely nice person. He would offer me creative suggestions on occasions when I would be confused, but would take care never to encroach on my personal freedom as an artiste. Above everything else, he is very encouraging as well.

Everyone on the sets of ‘Bhakthi Prasthanam’, starting off from the director, have been extremely nice to me. I am a slightly sensitive person, who tends to be upset at small issues that disturb my mind. What I felt while shooting for ‘Bhakthi Prasthanam’ was that even if I didn’t perform during a shot to the optimum level, they would encourage me and persuade to me to try even better. The atmosphere was truly positive, and this was a team that I was extremely comfortable with.

BB: You have worked with Shalini Usha Nair in ‘Akam’, while the rest of your films have been directed by men. Do you think as an actress you feel more comfortable working with a woman film maker?

Anu Mol: No, I don’t think it makes a difference at all. I am equally comfortable working with men and women directors.

BB: Malayalam cinema, they say, has been going through a process of transformation like never before. You have more and more films in which women get to play better roles than ever before. Don’t you think this is the right time to be in Malayalam films?

Anu Mol: Cinema, I feel, has always been going through this process of change. Cinema has always had freshers walking in, be it technicians or actors. Whether they stay on or whether they get lost in the crowd, would depend on the kind of work that they get to do in films. Dedication and luck do matter a lot, is what I believe.

BB: So what are your upcoming projects going to be, besides ‘Bhakthi Prasthanam’?

Anu Mol: I would be doing the lead role in a film that has been titled ‘Parayaan Baaki Vechathu’ that would be directed by Kareem, who had earlier directed films like ‘Agni Nakshatram’ and ‘Ezharakoottam’. National Award winning cinematographer Madhu Ambat will wield the camera, and I have been paired with Maqbool Salman in the film.

BB: One last question! What is your personal mantra that drives you forward in life?

Anu Mol: I take life as it comes. I have never planned things in my life, and from whatever has happened in my life, I always feel that things fall into their place on their own. But when I do something, I see to it that I give it my best shot. And I believe that sincerity and dedication does eventually pay off.

BB: Thank you so much Anu, for this wonderful tete-a-tete! It was such a pleasure talking to you, and all the very best for ‘Bkathi Prasthanam’ and all your other future projects!

 Anu Mol: Thank you!

Aishwarya Devan

BB: At the outset, a word of appreciation is due to you Aishwarya! I’d seen ‘Simhasanam’ in the theatres yesterday, and I should say you have done a good job! Congratulations!

Aishwarya: Thank you so much!

BB: Where are you basically from? Are you a Malayali, by any chance?

Aishwarya: Yes! I’m basically a Malayali, but have been settled in Bangalore for a very long time. My mom hails from Shornur, and my dad’s from Bangalore.

BB: How did films happen to you?

Aishwarya: I was busy pursuing my studies, when I was offered my first film. I was in the twelfth grade, to be precise.

BB: As much as this one happens to be a clichéd question, let me ask you this. Have you been fascinated by films all the while?

Aishwarya: Oh yes! I have always wanted to be in films, and have been quite attracted towards modeling and movies, right from the start. I should say I have been quite fortunate that I find myself today where I have always wanted to be!

BB: Which was your first movie? Could you tell us a little bit about it?

Aishwarya: I made my debut through a Telugu movie ‘Keratam’. I was paired with Siddharth Rajkumar, who was also being launched into films through this movie. It was directed by Gautham Patnaik, brother of music director RP Patnaik. The film made it to the theatres last year.

BB: We also heard that you have done a couple of Tamil films already! Now that is quite an achievement!

Aishwarya: Yes! My first Tamil film was of course ‘Yuvan’, which was the Tamil remake of the Kannada film ‘Josh’. I am also doing another film ‘Kandupidi Kandupidi’ that has been directed by Rama Subburaman. It’s a crime thriller that has Seeman, Murali and Tharun Kshatriya in key roles.

BB: How did the ‘Simhasanam’ offer come your way?

Aishwarya: Diphan Sir, renowned Malayalam film director, happens to be a very good friend of mine. He happened to see my pictures on Facebook, and was impressed. It was him, who introduced me to Shaji Kailas, who was on the lookout for a heroine for ‘Simhasanam’.

BB: ‘Simhasanam’, from the looks and sound of it, must have struck you as a film that is bound to be all about muscles and clout. Were you comfortable with the thought of doing a female lead in a male-dominated scenario as this?

Aishwarya: I do accept that it’s an action film, but I was glad that there was ample scope for the women characters to perform in it. Being a high voltage action film, I’m delighted that I could do what I have done in ‘Simhasanam’.

BB: The Malayali audience got to see you first in the ‘Omaya Omaya’ song that has turned out to be a hit. Tell us about your experience of working with Prithviraj.

Aishwarya: It was absolutely fantastic! Prithvi is very friendly and downright cooperative. He never even for a moment, made me feel that I was working with such a big star! He was very helpful, and I should say that I had a great time working with him.

BB: At the moment, you are busy with the Tamil version of the Malayalam film ‘Traffic’. Have you seen the original film? Which is the role that you would be playing in the Tamil film?

Aishwarya: Oh yes! I have watched the Malayalam film, and really loved it. I play the character that was played by Roma in the Malayalam version. I’m greatly excited to be a part of ‘Naangu Vazhi Salai’.

BB: I’d say you are extremely lucky to have been able to work in three major film industries down South – Tamil, Telugu and Malayalam. As an actor, what are the major differences that you have observed between the three?

Aishwarya: I’d say there are no differences as such between these three industries. I guess it all depends on one’s outlook; the way you look at them. As for me, I have barely started out, and I should say that I am very fortunate to have been able to work with such huge names in the industry, be it stars like Prithviraj or directors like Shaji Kailas. In ‘Naangu Vazhi Salai’, I get to be in a film that has such great actors as Sarath Kumar and Prakash Raj in it. Great film makers, actors and scripts; I’m tremendously privileged to be working with them.

BB: Tell me the actor whom you are dying to work with!

Aishwarya: (laughs) I was dying to work with Prithviraj, and I did get to work with him in ‘Simhasanam’! And yes, I’d love to work with Mammootty, Mohanlal and Jayaram!

 BB: Who is it that you have in your mind that you would like to model your work and career on?

Aishwarya: I admire Shobhana maam a lot, and I adore the way she lends life to the characters that she plays on screen. I’d really like to leave a mark in the film industry, like she has done!

BB: If I asked you to describe the kind of person that you are in a couple of sentences, what would you tell me?

Aishwarya: I am absolutely passionate about acting. Every day I find myself willing to explore my potentials as an actress. I have wanted to act and be in films for as long as I can remember. I feel I have finally come to the right place; I belong here.

 BB: Thanks much Aishwarya! It was a pleasure talking to you!

Aishwarya: Thank You!

BB: Sree Padmanabha theatre has undoubtedly set a benchmark when it comes to quality standards among the film theatres in the state. Could you tell us a little bit about the criteria on which you select films for screening?

Girish Chandran: Primarily, I have two concerns while selecting a film – I prefer family oriented movies that could hopefully appeal to the youth as well. Films are not selected on a monetary basis alone, which is why those with offensive content or even some films that might guarantee you a fantastic initial, but which would fail to keep up with the standards of what we have identified over the years as good cinema, would not be screened at Sree Padmanabha. The anticipated quality of a film is definitely a criterion for selection. Hollywood, as we all know maintains production standards that are quite superlative. At times though, dubbed versions of Hollywood films do not match up to these yardsticks. Quite recently, we decided to stop screening one such film after two days, since we felt the projection quality was abysmally low, though the collections were in fact, quite good!

BB: We have been hearing quite a lot of allegations recently that have been leveled against theatre owners, that they have denied many a good film, a deserved long run in the theatres. Just a few months back we heard the makers of ‘Ee Adutha Kaalathu’ and ‘Beautiful’ crying foul, and I personally remember that fine film ‘T D Dasan Standard VI B’ being meted out a terrible deal in the theatres. How much can a theatre owner ensure that a good film stays in theatres for a while?

Girish Chandran: (smiles) What you should remember is that when ‘T D Dasan Standard VI B’ was released, there was very little hype surrounding it, and very few people even knew that it was released. A theatre like Sree Padmanabha has a seating capacity of 959, and when a film as this is released, the audience turn up would be quite thin. It would be difficult for a theatre owner to screen the film in such circumstances, and this is especially true of good films that fall into a genre as that of ‘T D Dasan’.

Either the theatre owner could go out of his way to screen the film, for the sole satisfaction of having done justice to a brilliant film. Or else, they could limit the screening of the film to a single show per day, so that even if the collections are minimum, it could be managed pretty well. See, it’s not enough that good films are made; efforts should be made to make them reach the public as well. A film like ‘Adaminte Makan Abu’ gets noticed, and people flock to the theatres to see it, because it has a good distributor behind it. Not all good films unfortunately can claim the same. Let’s face it, a majority of the exhibitors do consider it as a trade…

BB: And we can’t really blame them as well…

Girish Chandran: …Exactly! Because, given the huge investments, it’s absolutely justifiable that they feel that way. ‘Ee Adutha  Kaalathu’ was a fine film, and I think it did quite well in Trivandrum. However, it had a running time of nearly three hours, which for small stations could have been an issue, when you consider the power supply charges. ‘Beautiful’, I agree was as beautiful a movie as its title, and it did deserve a much better run.

BB: They said ‘Beautiful’ was forced to give way to a Tamil film, barely a couple of weeks after its release. How real a threat to Malayalam cinema, are other language films?

Girish Chandran: You see, you can’t really see it a as a threat. Fifteen years back, Malayalam cinema was looked upon as one of the finest film industries in the country, and somehow things went for a nosedive later. However, the mood is quite upbeat at the moment, since there is a fresh breeze blowing by on the Malayalam film scene at the moment. Last year was quite productive, and we had ‘Traffic’, ‘Beautiful’, and ‘Chappa Kurish’. This year looks like it’s even better, and we already have ‘Ee Adutha Kaalathu’ and ’22 F Kottayam’ making waves at the box office.

In the Tamil film industry too, this movement has very much been there for the last several years, and films like ‘Subrahmanyapuram’, ‘Nadodigal’ and ‘Maina’ had rewritten box office history with neither huge actors nor huge banners backing them. What I am saying is that, it’s only a matter of time before Malayalam cinema is back on a turf where it truly belongs. And it wouldn’t be long before we have truly wonderful films in Malayalam again.

BB: On the flipside, how is it that almost all films have a pretty decent run at the Sree Padmanabha theatre? ‘Tejabhai and Family’ was a film that was panned by critics all over, but it did manage to stay at the theatre for quite a while!

Girish Chandran: (smiles) If a film deserves to be screened for about fifty days, I see to it that it stays in the theatre for at least seventy five. My logic is quite simple in this regard. If I have a film that is running pretty even, and if I don’t have another huge project in my line up quite soon, I would prefer the current film to go on. Bringing in a new product that doesn’t guarantee the returns doesn’t make any sense.

BB: I was just listening to people walking out of the theatre after the last show, and surprisingly they were talking of the theatre than the film! How do you manage to do this?

Girish Chandran: (smiles) What is very important for us is that, along with the film, we intend to provide a remarkable film viewing experience for our audience. We ensure that they have a great time inside the theatre, where they could be totally at peace in an air conditioned hall for about two hours. They know that there could be no issues as eve-teasing, and even if there were, the theatre authorities would stand by them in support. I felt very proud, when a lady commented on our Facebook page recently that she lets her daughter go out for a film with friends, if it’s at Sree Padmanabha. With the CCTV and other security measures that we have adopted, the support that we offer our viewers is optimum. This is also the reason why we often register packed houses even for second shows. What I have implemented in Sree Padmanabha theatre is everything that I would expect of a theatre to offer me when I venture out to watch a film with my family.

BB: It’s appalling that even these days, extreme conditions do exist in theatres in Trivandrum. There are still rats running around and the air conditioning is pretty dismal in at least a few. Personnel at the reservation counters in some theatres make you reconsider your decision to watch a film. All this in an age, when we talk of theatre accreditation and similar huge terms, and how much do you think accreditation has contributed in bringing about accountability to the state of affairs?

Girish Chandran: It’s sad, when you point out that things haven’t changed much. It’s true that the changes that have taken place aren’t uniform. At Sree Padmanabha, we spend a whopper amount per year for pest control alone. We are determined that we maintain the standards that are expected of a Platinum theatre, and the accreditation has only increased our sense of responsibility.

BB: I remember having seen a very interesting discussion on Facebook, where a group of fans sounded a bit disappointed that ‘Cobra’ was being released at Sree Padmanabha. And the reason was that, Padmanabha being a Platinum theatre, they weren’t sure if they could celebrate the First Show of the film by hurling paper scraps, as is the usual case. How do you deal with all this?

Girish Chandran: (laughs) Ah! They might have assumed that it wouldn’t be permitted in a theatre where everything is kept spick and span, and had met up with me on the eve of the release, and had briefed me of their plans. I told them I didn’t have an issue, and also that I would prefer it if they used flowers instead of paper scraps, since it makes cleaning easier. Cleaning up is indeed a gargantuan task on occasions as these, and the routine clean-up after every show becomes impossible on the first day. We had to literally carry out bundles of scraps on the second day and it took a long while, but it’s all a part of the show. I should say that I have never had any issues with fans or fans associations. On the contrary they have been extremely obliging, supportive and helpful to the core.

BB: There is no dearth of associations in the state, whether it be that of actors, producers, distributors or exhibitors. Has this become a classic case of too many cooks sitting together and spoiling the broth? What are the major issues that exhibitors are facing at the moment?

Girish Chandran: You can’t really say that associations have been the root cause of all these problems that we deal with today. In fact, associations have always helped us address our grievances and to initiate discussions and prompt actions at the government level. The major issue has been that the theatre expenses have risen phenomenally. The electricity expenses, for instance, remain the same whether there are 1100 people for a show or 10 people. Huge advances paid by the exhibitors to the distributors could also be quite detrimental, and there are several exhibitors around who have incurred severe losses. Scarcity of good films had also been an issue, which thankfully has been changing, as we discussed earlier. This Vishu has been a wonderful season, with several films making money, and it’s a positive trend.

BB: On a final note, what is that makes Sree Padmanabha distinctly different from the rest of the cinema halls in the capital city, and perhaps the state?

Girish Chandran: For starters, we have done a massive renovation of the seats – both at the balcony and at the reserved class – and have ensured that the seating is in keeping with the standards that one expects of a multiplex. All our air conditioners have been upgraded, and the air conditioning would be uniform, irrespective of the number of viewers in the cinema hall. We have a special generator that would guarantee that the air conditioners would work even when the power supply has failed. Christie 2K Digital Cinema Projectors have been installed to ensure unparalleled projection quality for Hollywood films, and the Depth Q system has been installed for 3D films. We have an imported screen. All the Dolby Stereo and DTS JBL Speaker stations have been upgraded as well to offer the viewer matchless sound quality. We have a laser show inside the theater before every screening, that adds up to the total film viewing experience of a family. The cafeteria has been revamped, and the hall is cleaned up after every show to maintain perfect cleanliness. The toilets have been refurbished as well. Above everything else, all members of the theatre staff have been specially trained, thereby assuring perfect customer satisfaction in their interactions with the theatre personnel. To cut a long story short, we believe that the viewer deserves a top notch cinematic experience inside the cinema hall, and we see to it that he walks out of it a happy man.

BB: Such a pleasure talking to you, and all the very best to you and to Team Sree Padmanabha!

Girish Chandran: Thank You!

BB: You have got the audience all keyed up with a very unique title for your new film – ‘No.66 Madhura Bus. Quite naturally, we are curious. What is the film all about?

M A Nishad: You could think of ‘No.66 Madhura Bus’ as a road movie. It’s more about a journey that this man called Varadarajan undertakes, and his voyage to Madhura forms the crux of the film. Why was it that he got aboard the ‘No.66 Madhura Bus’? Was there any special reason other than that which meets the eye? The answers to these questions and more would be revealed in the film.

BB: You have managed a casting coup of sorts in ‘No.66 Madhura Bus’, by bringing together two of the best actors in Indian films – Makarand Deshpande and Pasupathy.

M A Nishad: Yes, definitely. We have banked on two of the most brilliant actors on Indian screen, and that’s what makes this film very special. Stars have taken a back seat here, and actors have emerged to the forefront. We also have a host of amazing actors who have repeatedly astounded us with their acting prowess in several films – Thilakan, Swetha Menon, Padmapriya, Jagathy, Jagadeesh and Mallika – coming together for ‘No.66 Madhura Bus’.

BB: What has been your prime challenge while directing a content-centric  film as ‘No.66 Madhura Bus’?

M A Nishad: This is a film that gradually unfurls through the point of view of Varadarajan, the protagonist played by Pasupathy. My primary challenge as a director has been to make the viewer undertake a journey along with Varadarajan, aboard the Madhura bus. As the title itself suggests, the bus eventually evolves as a central character in the film as well, and I have tried to explore all the possibilities that a film like this offers me as a film maker.

BB: I still remember the film ‘Vairam’, which I feel is your best as yet, and that stupendous performance that Pasupathy had come up with, in the film. I have always thought that you share a warm relationship with the actor, and now you are working with him again in ‘No.66 Madhura Bus’. How far is my assumption true?

M A Nishad: You are absolutely right! More than an actor-director relationship, we have always been good friends; we have been like brothers rather. It’s almost like we share some sort of a Karmic relationship! (smiles) The rapport that we share is brilliant, and often I find myself thinking of characters that Pasupathy would be appropriate for, while reading a new story or going through a script.

But let me also remind you, that the reason why I approached him for ‘No.66 Madhura Bus’ was because it was drastically different from the role that he had played in ‘Vairam’. While ‘Vairam’ dealt with the agony of a father and his fight for justice, ‘No.66 Madhura Bus’ works on a different plane altogether. In other words Sreenivasan of ‘Vairam’ and Varadarajan of ‘No.66 Madhura Bus’ are distinctly dissimilar to each other, and its only because I felt that Varadarajan would put forward fresh challenges to him as an actor that I decided to offer him this role.

BB: Makarand Deshpande is a name to reckon with, when it comes to Hindi and Marathi films and theatre. How did you convince Makarand to take up this role in a Malayalam film?

M A Nishad: The first time I read about this character called Sanjayan in the script, I knew that it should be Makarand Deshpande who should be playing this role. I still remember having watched him in ‘Swades’ and being all impressed by the awesome performer that he is. It was a friend of mine, Vinil, who introduced me to Makarand. I met up with him at Bangalore, when he asked me if I had a script. I said I did, but added that I wanted to narrate the story to him. Makarand was all excited when he heard the story, and readily agreed to do the film.

BB: But when you cast non-Malayali actors in a Malayalam film, aren’t the challenges before you as a director increasing multifold? Right from the point of delivering dialogues to comprehending the cultural contexts of the film, the actors are bound to experience hurdles. How do you help them deal with all that?

M A Nishad: In ‘No.66 Madhura Bus’ both Makarand and Pasupathy play two characters who are non-Malayalis by birth. Born in some border town just across the state, they are immigrants who have moved to Kerala when they were about fourteen years old. They speak good Malayalam though. That totally justifies my selection of the actors, I guess.

Coming to your question, let me remind you that both of these actors are incredible performers. The kind of effort that they would put in to transform themselves into the characters that they play on screen would literally stun you. These are artistes who have truly risen above the barriers of language or place.

BB: What has been surprising probably is the emphatic female presence in your film –  Swetha Menon, Padmapriya, Mallika and Rekha, just to mention a few. Isn’t it a welcome change in an industry, where a majority of the films still remain male oriented?

M A Nishad: I am proud to announce that it’s not just the female presence that matters.  I could confidently say that each one of these woman characters has a distinct identity of her own and it’s wonderful that they have been played by accomplished actors as Swetha Menon, Padmapriya, Mallika and Rekha. And what’s more, Jayalalitha, who had bagged much critical acclaim for her film ‘Uppu’ years back, would be staging a strong comeback to films through a character that she essays in ‘No.66 Madhura Bus’. Each one of these women whom you would get to see in this film, serve as icons of their real counterparts in the society.

BB: Social criticism had dominated your first four films until you decided to try a hand at comedy with ‘Best of Luck’. Could we say that you are back on a comfortable turf again with ‘No.66 Madhura Bus’?

 M A Nishad: I have always liked films that stand close to real life. Films, I believe, should make a viewer think as much as it should entertain. With ‘No.66 Madhura Bus’, I find myself on a familiar ground again. This is a genre that I am quite at ease with. But just because ‘Best of Luck’ didn’t work out well, it doesn’t necessarily mean that I might not direct a comedy ever again.

BB: What went wrong with ‘Best of Luck’?

M A Nishad: Several things went wrong with it, now that I think about. It’s more like a bad dream to me that I’m trying to forget. But I would also admit that it has been a tremendous learning experience. It was because of ‘Best of Luck’ that I decided to focus on the content of my new film even more, and I believe it has helped me evolve as a director. Probably ‘Best of Luck’ is one of the reasons, why I have been able to rebound with a determination.

BB: How do you visualize the altering face of Malayalam cinema? Are things changing for good?

M A Nishad: I would say it’s an absolutely welcome change! Cinema, as any other art form, undoubtedly reflects its age and times. The exaggeration that characterized cinema in the 60’s eventually did give way to a realistic movement that was brought in by veteran film makers as Bharathan, K G George and Padmarajan. Time went on, and we also passed through a phase that saw films that questioned the basic intelligence of the viewers ruling the roost. And it was then that a new generation of film makers entered the scene, who brought in a cinema culture that was outstandingly refreshing. I’d like to specifically appreciate director Ranjith in this regard, and for serious film lovers like you and me, things certainly seem to be looking up.

BB: You have been a person who has maintained a clear-cut political outlook in your real life. How much of your political ideologies have been reflected in your films?

M A Nishad: None! Let me tell you, that I have successfully managed to keep my films away from my personal political view points. I have never tried to mix up my films with my political beliefs, since I believe a film maker should be beyond all that. My first and foremost priority has always been films, and it will remain so.

BB: How has your transformation been from film producer to film director?

M A Nishad: I had completed my engineering and was roaming around with an ardent desire to become a film director. I turned producer with the film ‘Oral Maathram’, with the intention of grasping the technical know-how behind the making of a film. It was after producing a few more films that I finally made my debut as a director with ‘Pakal, the first Indian film to have dealt with the farmer suicides in the country. I still hold ‘Pakal’ close to my heart.

BB: What are your future projects going to be?

M A Nishad: After ‘No.66 Madhura Bus’, I would be making a satirical film with Thilakan in the lead, that has been titled  ‘Gandhi Square’. Further details regarding the film would be formally announced soon.

BB: And what’s your final word on ‘No.66 Madhura Bus’?

M A Nishad: I’m sure people who love good films wouldn’t be disappointed on seeing ‘No.66 Madhura Bus’. It’s a family thriller that the masses and the classes could easily connect with. In short, I don’t want film aficionados to miss this bus!

BB: All the very best for ‘No.66 Madhura Bus’! It was such a pleasure talking to you!

M A Nishad: Thank You!

BB: Where have you been all this while, Jishnu? And what was it that prompted this comeback in 2012?

Jishnu: It was around in 2003, that I had the opportunity to associate with an educational organization, the chief motive of which was to establish educational institutions that would promote Information Technology in the rural areas of the country. We started an NGO that would help open up before the rural population, the immense possibilities of IT education. Around 3500 branches across the country were set up, through which we could instruct and train lakhs and lakhs of people in the subcontinent. It was a splendid feeling to realize that scores of people had actually found a direction in their lives through our program.

I should admit that it has been a huge learning process for me. It was an enriching experience in that it helped me get closer to the true meaning of life. As a person, I had never been interested in living a life just for the sake of it; I was the kind who wanted to think out-of-the-box, I wanted to travel around and get to know the country and the world. This was the right opportunity for me to do all that and more, and in the realms of management and teaching, I could find myself evolving as an individual.

I would confidently say that my years away from the film industry have been productively spent.  It was all going splendidly well, but the strain was a bit too much, I admit. It was quite difficult for me to be back in films, when this offer came, since I held a very responsible position in the company, and added to that I was very passionate about what I was doing as well. Resigning the job and getting back before the camera was a tough decision, but here I am exploring my prime passion yet again!

BB: Now that you look back at it, how does it feel to have entered the film industry having just stepped out of college?

Jishnu: I had just passed out of the Regional Engineering College at Calicut, and six months later I was acting in films. Now that I think about it, perhaps it was a bit too early for me to have entered the mainstream film industry. One of the major drawbacks of being in showbiz at a young age is perhaps that you tend to get disconnected from the real world. With little experience, there is a penchant to be lost somewhere in all the glitz and glamour that stardom offers. It does happen, though I’m glad it didn’t happen to me.

BB: I’m sure most of our readers know about it already, but could you tell us how the ‘Nammal’ offer came your way?

Jishnu: The campus selection at the Engineering College got me placed at a reputed company in Delhi, which is when I realized that this wasn’t really my cup of tea. I started wondering what sort of a person I was going to be, ten years down the lane. I wasn’t getting to explore myself as an individual, and the chances of discovering myself were real slim. I used to have a tremendous liking for the stage, right through my school and college days, and not much later I opened up to my dad and told him of my desire to take up acting as a career. Quite coincidentally, my dad was acting in a film directed by Kamal Sir at the time, and he happened to be a part of a discussion for a new film, for which Kamal Sir was on the lookout for a new face. I was asked to come down from Delhi to meet up with Kamal Sir, and he was impressed. I didn’t have a proper portfolio or anything back then, and Kamal sir had seen my college photographs instead. Luckily it worked in my favor, since I came across as the kind of youngster that he had in mind! I had quit my job to be a part of ‘Nammal’.

I had however had an experience already facing the camera, long back, when I was just five years old. The film was ‘Kilippaattu’, that was directed by my dad. It was a nationally acclaimed film that had veteran actors like Sukumaran, Ummer and Adoor Bhasi in it, and I still consider it an honor to have had the opportunity to work with all of them.

BB: Your acting debut with Siddharth Bharathan happened way back in 2002. In 2012, when we heard of Jishnu making a comeback, it was through Siddharth’s film again; the one which marked his directorial debut. What kind of an equation do you share with Siddharth?

Jishnu: Above everything else, both of us happen to be steadfast movie lovers. Cinema is the common ground on which both of us function; that’s what we discuss all the time. We would love to create good movies, and would love to be a part of good cinema. We have lots of common friends, and whenever we are together, its cinema that hogs our conversation. We had been busy with our respective lives during the past ten years post-Nammal, and hadn’t really had the time to catch up with each other, and even then it was all splendid when we met up again for ‘Nidra’.

BB: I am one among the several viewers who came out of the theatres tremendously impressed, having watched ‘Nidra’. What do you think went wrong, since the film was a disappointment at the box office?

Jishnu: It’s very difficult to predict the box office performance of a film, since there are so many factors that determine it. Now, probably I could give a hundred reasons for its box office failure. But the irony is that these reasons never crop up while the film is being made! However we didn’t really want to compromise on the quality of the film, and add up elements that could have generated viewer interest further. We were focusing instead on the key concept that we wanted to put across to the audience. But I do feel that the marketing aspect of the film left a lot to be desired.  The film deserved a greater hype, and somehow the marketing campaigns of the film couldn’t project it as the kind of film that it truly was. The result was that at least a section of the audience had developed misapprehension regarding the film that kept them away from the theatres.

BB: You played an adorable character in Sugeeth’s  ‘Ordinary’. How was the experience of working with all-youngster crew?

Jishnu: I was seriously involved with ‘Nidra’ and I had a tremendously enjoyable experience working in ‘Ordinary’ as well. We had a lot of fun on the sets of ‘Ordinary’ and had a blast during the shoot. It felt like having one great vacation out there!

BB: Do you feel acting has something to do with the genes? As the son of an exemplary actor, how much do you think have you inherited the skill?

Jishnu: There are things that each one of us is able to do, or unable to do. For instance, acting is something that I can very well understand, whereas there are other skills that I might not equally comfortable with. I might not be a great actor today, but I’m confident that I would evolve as a good actor one day or the other. I do agree that the chances of the son of a good actor turning out to be a good performer are quite high. I was born in the world of films, have seen plenty of films, and have seen how films work. It’s easier for me probably to fall into the groove than it is for a person who is a fresh entrant to films.

BB: 2012 has already started off on a brilliant note, and we have already registered a few hits, that also happen to be distinctly different from the run-of-the-mill kind that the market had been flooded with during the last several years. Is the new generation movement in Malayalam cinema happening for real?

Jishnu: Obviously. The prime requirement of the film industry or any industry for that matter is the maintenance of a proper balance. For the last few years, this lack of balance has indeed been haunting our industry as well. The demands and expectations of the audience were perhaps a bit too limited and the industry faithfully followed suit, catering to the needs of the audience. There weren’t many film makers out there who were willing to take the risk of experimenting with something different in a structured scenario as this. Ours is a small industry that functions on a shoe string budget, and you couldn’t blame the film makers either. Luckily the change emerged from the part of the audience that started getting critical of what they got to see on the screens. This is the movement that we are talking about now; one that had arrived much earlier in Bollywood and a few years back in Tamil films, and though a bit late which has finally arrived in the Malayalam film industry as well. Added to that there is a massive influx of fresh talent into the industry. If you are on Facebook, you must have noted that there are any number of short films being made these days, several of which I find extremely interesting.

BB: We have come to an age when actors refuse to be tied down to a particular image, whether it be that of a hero or that of a villain. What kind of roles are you on the lookout for, during your second outing in films?

Jishnu: The times are gone, when you would categorize actors into definite image slots. The new breed of actors just wants to be a part of good cinema. As an actor I would never want to experience boundaries and would love to walk around and see what I could possibly do. I would love to connect with the public, live the moment and be unconcerned about tomorrow. I won’t be willing to compromise either by demanding that I would be just doing hero centric roles. I would love to do challenging roles and surprise the audience with each role of mine. I would hate to be predictable.

BB: Do you have plans of moving on to any other department in film making? Like writing or directing, for instance?

Jishnu: I’d definitely love to direct a film, though there aren’t any immediate plans as such. Probably two to three years from now, I’d think about it.

BB: You have changed a lot, when it comes to your looks, and I mean it in a very positive sense. Have you been working out vigorously at the gym?

Jishnu: Thank you. My food habits weren’t up to the mark during the last ten years, with all the travelling and stuff. I had very little opportunities to work out as well, and all of this did take a toll on my health. Yes, now that I’m back, I have been paying attention to all that and more right now, and I’m glad that the results are there for you to see.

BB: What are your future projects going to be?

Jishnu: I have signed up for this new film called ‘Annum Innum Ennum’ to be directed by Rajesh Nair, that has a wonderfully creative team of youngsters working behind it. There is also another film that I’m quite excited about -‘Banking Hours: 10 to 4’ – a thriller that would be directed by K Madhu. There are also a couple of other projects, discussions of which are currently on.

BB: All the very best, Jishnu, and we hope to see more of you on screen in the coming days. Pleasure talking to you!

Jishnu: Thank You!

BB: I have heard that you are a doctor aspirant, who turned to films. How did that happen?

Gauthami: Yep! I wanted to go for Medicine, but then ‘Second Show’ happened. I had got admission as well, but I knew it would be impossible to squeeze in the shooting schedules into an academic year at the Medical College. So I decided to drop Medicine, and at the moment I’m pursuing a correspondence course in Psychology.

BB: That’s great! How did you land up with the ‘Second Show’ offer?

Gauthami: A friend of my cousin was the Assistant Director of the film, and they had sent over my pictures to the director. It was when I was asked to appear for an audition that I myself came to know about it! And the audition over, I was in!

BB: Do you still remember your first shot?

Gauthami: Oh yes! It was this shot that had me in a car with Dulquar, and we were having a conversation!

BB: Did you feel the jitters while facing the camera for the first time ever?

Gauthami: Hmm…No! I really didn’t have that problem, and I’m quite happy about that!

BB: I guess you should be a born performer then? Or is it that you have had some experience before hand, of being in front of the camera?

Gauthami: Nope…I wouldn’t call myself a born performer, but I would say I’m not that shy in front of the camera. I had never had any prior experience as well, and ‘Second Show’ was the first ever occasion when I faced the camera. And in fact I feel I’ve got better now, having learned quite a bit from my first two films.

BB: I remember there was a whole lot of curiosity regarding the actress who would be playing Dulquar Salman’s heroine. How was it working with him?

Gauthami: Dulquar is a gem of a person, a very nice guy, who is absolutely down to earth…so yeah…it was great fun working with him. He was very obliging too, and having attended acting classes in Mumbai, he would always offer me supportive suggestions with regard to my performance, voice modulation and so on. He was extremely helpful!

BB: Did it make you a bit nervous that you were acting along with Mammootty’s son?

Gauthami: After the audition was over, I was told that a new hero would be making his debut along with me, and I didn’t have a clue as to who that was going to be. It was much later that they called both of us – me and Dulquar – and we were made to sit together, and they clicked a few pictures to see how we looked on camera. Until then, I had absolutely no idea that Dulquar was Mammoott’s son; in fact I didn’t even know that Mammootty had a son! After a couple of days, it was director Srinath Rajendran, who himself told me that Dulquar was Mammootty’s son, and I was like totally surprised!

BB: I have seen ‘Second Show’, and should say that I was very impressed. And how could I forget that one scene in particular, that had the entire male audience clapping in delight – the one in which Dulquar says ‘Annum, Innum, Ennum, Penninu Kaamukan Panam Thanne’ (There is only one lover that women have always had – Money)! As a woman, how much do you agree with a blatantly sexist statement as that?

Gauthami: (laughs) I guess Geethu, the character I played in ‘Second Show’ probably didn’t want to end up in a real bad situation midway through her life! Security is definitely something that every individual would want in their lives. I don’t know personally… but I do know that I wouldn’t dump a guy for money, that’s for sure. Probably there might be people who do that, but I wouldn’t want to comment on it! (laughs)

BB: How were the responses to your performance in ‘Second Show’?

Gauthami: I should accept that there were a whole lot of expectations regarding the film, since Dulquar was doing the lead role. It did help a lot, and a lot of people actually went and saw the film. Even people, whom I didn’t expect to see the film, saw it and people recognize me as the girl from ‘Second Show’.

BB: All right. You played a nurse in ‘Second Show’, and I know that you play a nurse again in Lal Jose’s new film ‘Diamond Necklace’. What do you think is that primary characteristic within you that makes directors want to cast you as a nurse in their films?

Gauthami: Noooooooooo… (laughs) I do agree that I play a nurse in both the films, but these two characters are entirely different from one another. The character that I play in Lal Jose’s film was initially supposed to be done by Amala Paul, but she couldn’t be a part of the film. So they were on the lookout for another girl, my name was suggested, and it was thus that I ended up playing this role.

BB: Could you elaborate a little bit on the role that you are playing in ‘Diamond Necklace’?

Gauthami: I play a Tamil girl in the film, a nurse, who lands up in Dubai to make some money, thereby hoping to resolve a few financial issues that she has, back home. It’s here in Dubai, that she meets Fahad, and their meeting transforms her life forever.

BB: Lal Jose, is a director whom we adore. How was it working with him?

Gauthami: It was an amazing experience. I had heard that he is a very strict director, and that he can be quite tough on the sets. But none of that really did happen, and he was so very helpful and caring. Above everything else, acting in ‘Diamond Necklace’ has been a tutoring session – one huge learning experience for me. I feel that you basically grow as a person while you are collaborating with Lal Jose on a film and he teaches you so many things – how to present yourself, how to speak and what not. It has been simply great.

BB: How was the outdoor shoot in Dubai?

Gauthami: They had planned about two months of shooting in Dubai, which went on fantastically well. A few song sequences were later canned at Pollachi.

BB: You have been paired with Fahad Fazil in ‘Diamond Necklace’. It’s a youngster cast in the film. Did you guys have a blast on the sets?

Gauthami: I was very happy to be associating with Fahad. I remember right from the time I was doing ‘Second Show’, I wanted to work with Fahad. So when the ‘Diamond Necklace’ offer came my way, it was like a combo pack for me – Lal Jose and Fahad Fazil together! I was super excited about it! Fahad is a wonderful person to work with.

BB: ‘Diamond Necklace’ is a film that has three heroines in it. Does it make you insecure that you have been cast with two other girls in the film?

Gauthami: No…it doesn’t. In fact, I really love my character in ‘Diamond Necklace’, and it’s been a challenge for me, performance wise. It’s a character that demands so much of variations in emotions, and I don’t think there is any reason for me to feel insecure or intimidated by the number of heroines in the film.

BB: Are you a movie buff, and do you get to see lots of Malayalam films?

Gauthami: Oh yes… I have been busy watching lots of Malayalam films, lately. Even when I was in Kuwait, I loved watching Malayalam films, but not many films used to be released there then, nor did we have Malayalam television channels. So my Malayalam film viewing was often restricted to the couple of months that I would spend in Kerala every year, during vacations.

BB: Do you have any role models as such?

Gauthami: I like lots of heroines; and each one of them has got her own style and a unique way of presenting themselves or portraying a character. Picking out any one of them could be quite hard.

BB: And what are your future projects going to be?

Gauthami: Yep… there have been a few offers, but I am yet to commit myself to any of them. I would rather wait for ‘Diamond Necklace’ to be released this week, and take it forward from there.

BB: Besties for ‘Diamond Necklace’, Gauthami! A pleasure talking to you!

Gauthami: Thank you so much!

BB: They say there are two kinds of actors – the born ones and the trained ones. Which category would you fall into? Is it an actor that you have always wanted to become?

Hemanth: I would fall into the second category! I was doing my final year Engineering, and was travelling by train in connection with a project, when I happened to come across Rajan Joseph sir (the late Jose Prakash sir’s son). It was he who suggested that I looked apt for the leading role in a film that was being launched by Fazil sir. He also asked me to email him my pictures, and go meet him, if I was interested. Later he himself took me to Fazil sir who was impressed by my looks. As for the acting bit, Fazil sir took me under his wings and taught me whatever I needed to know.

BB: Fazil, no doubt is a film maker who is known to have launched some of the biggest names in the Malayalam film industry, from Mohanlal to Kunchacko Boban. He’s a legend, and how was your experience of working with him?

Hemanth: I was totally in awe of him as a film maker. In ‘Living Together’, he had before him an actor who was facing the camera for the first time, and it’s thanks to him that I could try my best. He is one of the most senior directors that we have, and yet he goes out of his way to act out and demonstrate a scene before us! I could remember any number of acting tips that he had provided us with during the shoot. He doesn’t approve of a take, until he is absolutely sure that it has all turned out perfect. As such, it was an immense learning experience for me as an actor, and I believe that I was truly lucky to have had the opportunity of working with him.

BB: As someone who has seen the film ‘Living Together’, I should say that you have done a decent job, and it doesn’t really seem like you are a fresher in the film…

Hemanth: If you felt so, I would attribute the entire credit to Fazil sir, for having taken the trouble to painstakingly work with me. I did experience the fresher tremors during the scenes that we shot at the beginning, but eventually it got better, and it’s thanks to him!

BB: This seems to be the right time for youngsters to be making their entry into the film industry. There are so many new faces – be it directors, actors or technicians – coming on the scene right now, and what do you feel of this new gen movement in Malayalam films?

Hemanth: Absolutely. If you ask me, this is the perfect moment for a newcomer to enter the industry. ‘Living Together’ did not do that well at the box office, but even before the film was released, I had got another offer from director Biju Arukkutti, who was planning his first film as well, as an independent director. The film was ‘Dr. Love’ in which I was cast along with Kunchacko Boban and Bhavana. It was a challenge doing a key role with them in a project as ‘Dr. Love’, but I thoroughly enjoyed it.

BB: And don’t you feel that over the last few years, the audience perceptions have changed as well?

Hemanth: Yes! The audience today is ready to accept new faces, and new people. They are all geared up to listen to new themes and ideas and willing to take a look at cinematic experiments. It’s a fast changing scenario, no doubt, and I’m sure it’s a positive change!

BB: Indeed! From Fazil to Biju Arukkutti, it must have been some journey for sure. You must have noticed some distinct differences in film making styles, when you landed on the sets of ‘Dr. Love’. Could you elaborate?

Hemanth: The major difference I guess is the way in which you communicate with the directors. While working with Fazil sir, you just leave everything to him and be exactly what he wants you to be in his film. It’s more of a paternal affection that you experience on his sets. While working with Biju chettan, you feel like you are working with your elder brother, and find yourself on a different plane altogether. And with so many youngsters on the sets, it’s a totally different ball game that is loads of fun, as much as it is a learning experience.

BB: I’m sure it should have been. As much as he is a youngster, Kunchacko Boban is quite a senior to you with the number of years that he has been around in movies. How was it working with him in ‘Dr. Love’?

Hemanth: It was amazing really, and I have tremendously enjoyed working with Chackochan. He is a gem of a person, and I believe he is one of those actors who is absolutely supportive of fresh talent coming into the industry. And with him being around, you are always on your toes, trying to improve your performance as well!

BB: I would term your role in Sugeeth’s ‘Ordinary’ as ‘short and sweet’. It’s one of those roles that make you feel that the length of a role doesn’t matter, as long as you leave an impact on the viewer’s mind.

Hemanth: I consider myself lucky to have been able to collaborate with a film like ‘Ordinary’. Sugeeth chettan has been a friend, and when he suggested that I do this key role in the film, I was more than happy. Chackochan too was all supportive. I was just waiting for a different kind of a role, after ‘Dr. Love’ since I didn’t want to do films just for the sake of it. But I knew that this role that carries the story forward at a vantage point would be noticed, and with the film turning out to be an extraordinary hit, I’m glad that my role has been appreciated as well.

BB: And now you are busy with ‘Chattakkari’, Santhosh Sethumadhavan’s remake of the classic film that goes by the same name. Have you seen the original film, and how does it feel stepping into Mohan’s shoes?

Hemanth: Yes, I have seen the original film. I should say that luck has favored me again, when it comes to ‘Chattakkari’. If you have seen ‘Living Together’, you might remember that it was Menaka aunty who played my mom in it. It was she who recommended that I play the role of Sasi in ‘Chattakkari’; the role that was essayed by Mohan years back.

When I saw the original film, this was a character that had me confounded. Later, when I read the fresh script, I could see that it has been chiseled to perfection. I agree it’s a different kind of a character no doubt, one with negative shades, and it should hopefully be one that helps me break away from the romantic hero image that I have built up with my first three films. I am tremendously happy with the way the role has turned out.

BB: Let me tell you that you are bound to be compared with Mohan, and how do you plan to take on the comparisons?

Hemanth: Comparisons are bound to be there, no doubt, and I hope I have done a decent enough job in ‘Chattakkari’ that would help me deal with it. The soul of this film is the character of Julie, that has been essayed by Lekshmi maam to perfection in the original film, and hence Shamna Kasim, who dons the role in the new version would be compared as well. I accept it’s a huge challenge for all of us, but I guess its fine!

BB: It was way back in 1974 that ‘Chattakkari’ was released, and it’s been around forty years! Do you feel the theme of the film holds promise still?

Hemanth: I would say ‘Chattakkari’ has a theme that stands the tests of time. Inter caste relationships still manage to rake up a furor in our society. As much as it remains at that, the script has been thoroughly reworked to incorporate into it the changes and alterations that the forty years that have passed by, demand.  There is bound to be a freshness in the film, since the makers have seen to it that the visualization of the script is top notch.

BB: How was it working with Shamna Kasim? This is probably the most important film in her career as well!

Hemanth: She is an incredibly talented artiste, no doubt! I definitely feel this film is going to work wonders for her. She’s a through professional as well, having acted in other language films beside Malayalam. We were very comfortable with each other and hopefully the results would be well appreciated.

BB: So what are your future projects going to be?

Hemanth: At the moment, a few discussions are on, though it’s not yet time to make official announcements. I have pinned great hopes on ‘Chattakkari’ that would let people see me in a different light.

BB: You mentioned about being a singer as well! Are you a trained musician?

Hemanth: Not really, but I do come from a family of singers. My mom and my sister are good singers. I do sing and I even studied music for about one and a half years. I have sung for Ganamelas too in college, but that’s it.

BB: Such a pleasure talking to you, Hemanth! And all the very best for ‘Chattakkari’!

Hemanth: Thank You! Pleasure talking to you as well!

BB: Perhaps it’s a first time in the country Major, that an Army officer, who’s the recipient of the President’s Medal, and with over two decades of meritorious service in the Army, takes to directing films! Have you always aspired to be a film maker?

Major Ravi: I have always believed that there is this  most important thing that you need to have within you, if you are to become a film maker – an intense passion for films. Even as a child, I used to watch films with such fervor, and eventually the awe and astonishment in me gave way to a critical sense that made me all the more curious as to how films were actually made. It’s this analytical film viewer inside you who makes you recognize that you have a passion within yourself to make a film.

BB: How would you describe the film making process?  

Major Ravi: Making a film, no doubt is a gargantuan task and an intricate one at that. As a director, you need to know every tidbit regarding your film, and you need to be right there from the first frame till the last, until the final credit has rolled off the screen. Meanwhile you have a story to tell your viewers; one that spans across several scenes that need to blended together into a cohesive whole, and presented convincingly before an audience.

BB: There has been this labelling of feature films into commercial and art house categories, and how much as a film maker do you believe in such classifications?

Major Ravi: All films, believe me are works of art. A film, basically needs to put across what it attempts to convey to the viewer, and I don’t believe in a film where the maker has to stand by and explain things to someone who has taken an effort to watch his film. Now, if that is an art house film, I don’t think I I’m all for it. As a film maker, I want the viewer to watch my film and enjoy what he is watching.

BB: You started off as a military consultant in films, and also acted in a few movies. Not surprising too, with your good looks. Why was it that you never took up acting after a while?

Major Ravi: I have always wondered if I should get into film making, since it has struck me as a much demanding profession. Yes, I did have a brief stint as an actor, but I soon realized my limitations as a performer. Acting is a God given talent that becomes obvious when you see an artiste like Om Puri in action, and unfortunately I knew that I didn’t have it in me. And it’s just not about looks either. There are any number of men out there who are as tall as Amitabh Bachchan, but isn’t it a fact that we have only one Amitabh in the world?

BB: And when was it that the transition from actor to director took place?

Major Ravi: Surprisingly, I knew all the while that I could extract what I wanted from an artiste in front of me, and this realization struck me all the more when I did a small children’s film, ‘Punarjani’ with a limited budget, way back in 2002, that won the child artiste in it, Pranav Mohanlal, the Kerala State Film Award for Best Child Actor. What’s more, I wanted another child to do a supporting role in the film, and none of the children in front of me fit the bill. It was then that I picked up Vishnu from the crowd, and as if in confirmation of my instincts, he won a Special Mention by the Jury in the State Awards as well.

After the Preview of the film, Shaji N Karun, renowned film director, whom I didn’t know personally as yet, asked me what my plans for the future were. I replied that there weren’t any plans as such, and that I was quite happy doing films and the military consultancy was going quite good as well. It was then that he suggested that I should take to direction, and added that I had an eye for it. I was astonished when he rang me up the next day morning to remind me of what he had told me the day before. Today, as I speak to you as a director, I realize that his words on the evening of the 20^th of December, 2002, were the ones that changed my life! By the 30^th of December, the same year, I had the one-line script of ‘Keerthichakra’ ready with me.

BB: How did you convince the producers that this army man could make films?

Major Ravi: It was difficult for people to believe that a military man could direct films, and it was difficult to find a producer as well. People were apprehensive of my talents as a director, my technical knowledge as a film maker and so on. Sunil Shetty, who is a good friend of mine, wanted to do this film, but somehow things didn’t work out. I just left it at that, started working with Priyadarshan again, and two years went by in a flash. It was then that I thought that I should do something about this script that I had with me, and I approached Mohanlal and gave him a narration. After the narration, Mohanlal asked me why I hadn’t discussed this story with him earlier, and told me that we are doing this film. A producer was still nowhere in sight, and it was much later that R B Choudary agreed to make the film. It was thus that ‘Keertichakra’ was born, and the film made history in Malayalam films!

BB: People work for years and years as Assistant and Associate directors before they finally venture out to independently direct a film. How much had you been exposed to the technicalities of film making when you made ‘Keerthichakra’?

Major Ravi: I had been working with Priyadarshan for a long time, and had been assisting him in ads and commercials. I worked as a military consultant with Kamal Hassan for the Hindi film ‘Abhay’, with Rajkumar Santhoshi while he was directing ‘Pukaar’ and ‘China Gate’ and with Mani Ratnam for ‘Kannathil Muthamittan’. I was constantly observing as to how films get made while working with these fantastic film makers, and frankly I don’t think it matters much that you have been working in the industry as an associate or assistant director for the last twenty five years. What does matter is your personality, the hard work that you are willing to put in, and of course your self confidence. You also need to learn to accept your faults and limitations, and the earlier you learn to get them right, the better.

BB: How much concerned is Major Ravi as a film maker about the box office performance of his films, critical appreciation, and of course awards and accolades?

Major Ravi: As a film maker, I think you have no right to be in the industry if you see film making as merely a money spinning business. The director needs to have a commitment to the audience whose hard earned money is being spent watching his film. I am not too much concerned about awards and appreciation. That doesn’t mean that they do not matter, but I guess it’s futile to go chasing after them. Once you do your work with conviction, they are bound to follow.

BB: ‘Keertichakra’ gifted us with Major Mahadevan who has chosen to occupy a definite place in our hearts ever since the film and its sequels graced the screens. I have always wanted to ask you this; how much of Major Ravi is there in Major Mahadevan?

Major Ravi: Major Mahadevan is a replica of my character; he is a screen representation of Major Ravi in real life. When I wrote the script of these films, I never had to take another look at it, since these are real life events that I have been through. The dialogues in the films are those that I have said in my life, or which I have heard myself. In ‘Keertichakra’, you might remember a scene that involves the character played by Sphadikam George and Major Mahadevan, and believe me,  I have seen officers like that in the Army.  As a dedicated officer in the Army, my nation was always my first priority, and everything else including my family was only secondary, just as it is for Major Mahadevan as well.

BB: I was very excited when I got to see ‘Mission 90 Days’, and should admit that it was film that had me totally absorbed. What do you think actually went wrong with it?

Major Ravi: Nothing went wrong with the making of the film. I guess it’s the huge expectations of the audience that took its toll on the film.  I was told that some people at least were let down by the fact that Sivarajan wasn’t killed in the climax. Today things have changed, and I somehow feel that ‘Mission 90 Days’ was a film that was well ahead of its times. The DVD of ‘Mission 90 Days’ is currently used as a study material in so many visual communication courses, and I believe that it was well appreciated by discerning viewers.

BB: And what happened to ‘Kandahar’?  

Major Ravi: People were disappointed that there wasn’t enough of Mohanlal in the film; at least not as much as they had expected him to be.  He was undoubtedly the hero of the film, but they wanted even more of him. Some even asked me why I had made Mohanlal land the plane, and it took a bit of effort to convince them that an army officer could indeed take the risk of landing an airplane carrying 192 passengers. Of course, I wanted an actor there, who could credibly deliver the expressions that a pilot goes through when entrusted with such a task! And who could deliver it better than Mohanlal!

BB: The military is known for its discipline, and from the layman point of view at least, the film industry is just the opposite. How do you deal with the ideological conflicts while being a director? Are you a strict disciplinarian on the sets?

Major Ravi: If the commander is disciplined, everyone else eventually falls into line. If the director is sure of his business, is meticulous about the things that he does, then his unit would follow suit in no time. I agree that for this to happen, sometimes you need to shout and even abuse, but I make sure that the people around realize that I am the one who decides things around here. They also know that they get shouted at, only if and when they fail to perform their duties. This has been my attitude while directing every film of mine, and this is exactly the reason, why I have been able to finish all my films off within thirty days. The fear of punishment works well every where to get people disciplined, whether it be in the army, the industry or elsewhere. It’s this fear factor that makes people adhere to traffic rules in countries like Dubai or which leaves the cities of Singapore all spick and span.

BB: But isn’t there a slight difference between the way the military works and the way the film industry functions? Like for instance, I’m sure you don’t have to deal with star egos in the military!

Major Ravi: Let me tell you, I have worked with the biggest of stars, and I have never had any issues. I first worked with Amitabh Bachchan while shooting for ‘Kaun Banega Crorepati’ and came to know of what a disciplined artiste he was. We had planned for a shooting at 6 o clock, and he was there all ready for the shot, when the clock struck six. Years later, while I was directing Amitabh Bachchan in ‘Kandahar’ at Ooty, he asked me when I intended to start the shoot. I told him I would have loved to, at seven in the morning when the sun would just be coming up, and added that it would be incredibly cold.  He agreed to be there at seven, and my unit was up at five getting everything right. At five minutes to seven, we found him standing there, ready for the shot. Amitji was a bit surprised too, since I had got everything ready including the lighting for the shot to be taken. I had made sure that such a magnanimous person shouldn’t be made to sit around waiting for Major Ravi, and had planned the entire day’s shoot well in advance. When you see the film, you will be shocked to see that there is about twenty seven minutes of Amitji in the film, and we had canned it all in about one and a half days. It’s been a great pleasure working with Mohanlal who is a close friend. Mamootty was cooperation personified as well and we finished ‘Mission 90 Days’ in twenty eight days sharp. But of course sometimes you come across artistes who walk in late to the sets, sit around and gossip and then go online, unmindful of the happenings around. Sorry to say that it doesn’t work that way on my sets.

BB: We often talk of actors being typecast, and now we have directors being typecast as well. All four of your major commercial films have said stories set against a military backdrop, and why is it that you haven’t thought of doing something different?

Major Ravi: The new film that I am currently planning with Mohanlal in the film, should serve as an answer to your question. It’s a family oriented subject that I would be dealing with this time, and I have drawn from my own experiences at my Tharavaadu for this film. I would love to break away from this so called military mould, and do something different. We expect to start shooting pretty soon.

BB: It has always been observed that there is too little of feminine presence in your film. Why is that so?

Major Ravi: That’s indeed right. I’m often asked why there aren’t many women in my films, and even when they do make an appearance they are around just for two or three minutes. Frankly, if it’s a man, I feel I could very well deal with them, with all my anger and fury. (laughs) I prefer to keep a safe distance from women, lest an accusation gets hurled at me that Major Ravi shouted at a woman! But I’m a person who holds every lady in highest esteem. And the respectable depiction of women in my films is what gives any female artiste the confidence to do my film without any reservations whatsoever.

BB: We also heard of an anthology film called ‘Oru Yathrayil’ that you would be directing along with four other directors. How has that project turned out?

Major Ravi: Yes, ‘Oru Yathrayil’ in which I’m working as the project director, is complete, and should be releasing by May 2012. Five directors – Priyanandanan, Vinod Vijayan, Rajesh Amanakara, Mathews and myself – would be narrating five stories in this anthology that get merged at a particular point of time. We hope it would be a different kind of an experience for the viewers.

BB: Now this is one question that I’m sure all our readers are waiting to ask you. Is Major Mahadevan going to be back sometime soon again?

Major Ravi: Yes! Major Mahadevan has instilled a spirit of patriotism in today’s youth, which I believe is the need of the hour! I guarantee you hence, that Major Mahadevan is going to be back, and I’m not gonna allow him to die; not for the next hundred years at least! I also have plans to make a mega film based on the ’71 war, that I hope would help reduce the hatred between India and Pakistan.

BB: Thank you so much for the assurance! Such a pleasure talking to you!

Major Ravi: Nice talking to you too!

BB: At the outset, let me tell you that we loved your film, Jinu! I mean, we have seen so many crime thrillers in Malayalam, but here was something that was decidedly distinct. How is it that you came across a thought as this one? Could you elaborate on the writing process that you must have gone through?

Jinu:  Thank You! I have always been fascinated by investigative thrillers, like K G George’s ‘Yavanika’ or Padmarajan’s ‘Kariyilakkattu Pole’, and have been haunted by them. S N Swami’s thrillers have been an influence too, no doubt. Often, there is a common pattern that crime thrillers adopt; that of a crime that has been committed and the journey that an investigative officer embarks on, to find the perpetrator of the crime. I wanted to say a story that distanced itself away from this said pattern, and came across this idea, where the murderer and the murdered are found dead on the same spot. This was the initial spark of thought, and the rest of it followed. Eventually, I arrived at a common theme that would serve as a backdrop for all the crimes that were to follow, sooner or later.

BB: There is a Hitchcockian flair to your script that manages to retain the viewer interest throughout the film. However, we couldn’t help notice that at a deeper level, it does have a very valid statement to make on issues likes woman abuse. Was this deliberate, by any chance?

Jinu: There are two versions to the film ‘Masters’. The first one is what you have seen on screen; from the first scene to the very last. The other one is when you take a look at it reversely, starting from the last frame and moving towards the first. It’s a combination of these two versions that make the film. The first version follows a cinematic order and concerns itself with a crime, the investigative officer who has been entrusted with the enquiry, the pathways that he treads on, the people whom he meets on the way, and the lives of each of these individuals. The other version, that becomes even more apparent with the revelation in the climax, talks of five individuals who have been denied justice at some point of time or the other. A chance meeting makes them realize that the cause of immense hate that lies buried within their hearts is strikingly similar, and that the color of their nightmares is the same. It’s this second version that tries to make a statement on social issues.

BB: What threw us totally off balance while watching this film was that it has been directed by Johny Antony, a name that one normally associates with comedy films. What is it that prompted you to approach Johny Antony with the script of a crime thriller?

Jinu: Johny Antony is a director who was keen to give a patient listening to the story that I, a newcomer,  had to tell him, and who was eager to read my script, and who was 100% sincere in his execution of it. There have been days in my life when I have roamed around with a complete script in my hands, not sure as to whom to approach with it. It was a friend who introduced me to Johny Antony, and Johny chettan was all excited when he heard the core thread of my story. I already had great regard for this director, since I had heard about the strain and sincerity that he had put in, while doing a film like ‘Cycle’. You should know that there are scores of people and wannabe writers out there, who are ready with scripts, some of which I’m sure, would be much better than that of ‘Masters’, but which haven’t been made into films, probably because nobody has listened to them as yet. You cannot blame the directors either, since the numbers are too huge, and it’s impossible for them to lend an ear to each and every story. So I guess, as a new writer, I was lucky that I could meet Johny chettan and convince him about what I had to say, through ‘Masters’.

BB: There was a lot of curiosity regarding the very special star combination that ‘Masters’ offered – Prithviraj and Sasikumar – and how much do you think these stars have contributed to the success of the film?

Jinu: Let me tell you that I so much wanted this script to work. This was a huge ambition, as far as I was concerned, and while writing the script, I thought that it would be wonderful if Prithviraj did the role Sriramakrishnan.  However, regarding the character of Milan, I wasn’t so sure, though I tried to imagine many familiar Malayalam actors in Milan’s attire. It was then that I happened to see ‘Nadodigal’, and I immediately felt Sasikumar was perfect for the role. Later, when we were having discussions regarding the casting, I mentioned the two actors whom I had in mind, while writing the script. And no doubt, they have contributed immensely to the success of the film.

BB: You said you had thought of casting Sasikumar while watching ‘Nadodigal’, which must have been quite a while back. How long have you been writing the ‘Masters’ script?

Jinu: I started writing the script in 2008, and completed it around the end of 2009, after which I went and presented the script to Johny chettan. It was at the beginning of 2010, that Prithviraj accepted to be a part of the project, and then we had to wait for some time for Sasikumar, to coordinate his dates. So yes, you could say it has been a lengthy process, and the writing alone must have taken about a couple of years.

BB: Your’s is a success story, that I’m sure, many of these aspiring writers who are hoping to see their stories and scripts on screen, are looking up to. What is it that you have to tell them, as a successful writer who has been there, and who has seen it all?

Jinu: I’m barely a film old and I honestly don’t think I’m the person who should be lending advice here, but I’d just talk from my own experience. When you approach a director with a story, you are often asked to present a synopsis of your theme in two or three sentences. Make sure that you have the catchiest elements of your story in those three sentences that you plan to tell them.  A new writer needs to be transparent, is what I feel. More than the story, the script is what matters.  And make sure you have a complete script in your hands. It always helps to think different, and to come up with ideas and thoughts that are decidedly singular.

BB: Should we be expecting another crime thriller from Jinu Abraham soon?

Jinu: Never. Do not expect another crime story from me soon. I’m almost done with a new script that tells an absolutely romantic tale. It’s going to be a pleasant film that is drenched in romance, with ample scope for comedy as well. But I guarantee you that this film would be strikingly refreshing as well.

BB: Besties for your new project, Jinu! We are looking forward to seeing your next film! It was such a pleasure talking to you.

Jinu: Thank You!

BB: Congrats Roshan, and we should admit we are yet to get over the sexy woman that Dileep has turned out to be! Often in films, there is always an attempt to vulgarize when a man is ‘transformed’ into a woman. But I guess what makes Maya different is that she is sexy without being crude, and seductive without being offensive. Was there a conscious attempt to mould Maya as she is?

Roshan: Thank you! Yes, indeed! Dileep ettan, the director Jose Thomas and I were primarily concerned about how Maya could be made as beautiful a woman as she possibly could be. As such, my challenges lay in spotting the typical male features on Dileep ettan’s face, and transforming them into essentially female ones. The process led to our accentuating the female features even further once they have been identified, and the results are there for all to see!

BB: How much would you say Dileep has contributed to this fantastic make over?

Roshan: I wouldn’t be exaggerating if I tell you that Dileep ettan has given it a 101%. And its thanks to him that Maya looks the way she does today. I mean, the kind of commitment that Dileep ettan has shown for this role is extremely commendable. We have taken a lot of pain to bring about this look to Maya.

BB: Could you elaborate a bit further?

Roshan: I remember one particular instance, when I had suggested that we could conceal the eyebrows and put up artificial ones on its place. Dileep ettan asked me how long the effects would last, and I told him that it should work well for about five hours. This probably wasn’t feasible, since long shooting stretches of about twelve hours were being planned, and it was Dileep ettan who suggested that we could pluck the eyebrows for the shoot! He had even gone ahead and pierced his ear lobes just to see to it that it was all perfect. It was a great experience working with him, and I was lucky that I could collaborate with him on this project.

BB: What are the other projects that have kept you busy of late?

Roshan: My first project in Malayalam was ‘Pazhassi Raja’, and I have also been involved in a few other films in the offbeat stream like ‘The Virgin Goat’, ‘Lessons in Forgetting’ and ‘In Othello’.

BB: Have you always wanted to be a makeup artiste?

Roshan: I am basically trained as an actor, and have graduated from the School of Drama. Even while training as an actor I have always been interested in the ‘Ahaarya’ aspect of the Indian concept of ‘Abhinaya’. ‘Ahaarya’ concerns itself with expression through decoration such as make-up, jewellery and costumes. I have performed as an actor on stage, and I have felt that any performing art attempts to bring in an element of believability into what it tries to convey across to its audience. This believability is brought into a character through the artiste’s sound modulation, body language, costumes and very importantly the makeup as well. I have always been fascinated by this facet of acting.

BB: Interesting indeed…

Roshan: But I admit that there is a huge difference in perception of makeup as an art form, especially when you compare the way it is viewed here with the way it is seen across the globe. We often talk of makeup animatedly when it creates an excitement like it did with Kamal Hassan’s transformation in the film ‘Chachi 420’. At the other extreme, it is often left ignored. Quite in contrast to this trend, I recently received an award at Los Angeles for my work in the film ‘Lessons in Forgetting’ where I was much appreciated for the subtlety that I had employed in the film. There was no exaggeration here; no going over-the-top.

BB: So what is it that a makeup artiste actually does with the subject’s face?

Roshan: Every individual has a few dominant traits on their face, that probably need to be transformed when they set out to play a character that demands a different set of facial features. This alteration is the real challenge that lies before any makeup artiste, and I have been constantly trying to do exactly this! Makeup is a highly underexposed subject in the Indian scenario. Drastic changes brought about in the appearance of  a person – like when you change a 20 year old to a 60 year old, or a man into a woman – are often seen as the ultimate makeup tasks here, whereas in reality they are not. Often makeup is seen as a mere process of beautifying a person, which is not what it’s all about. There is so much more that a makeup artiste can do in every scene of the film, depending on what the context actually demands.

BB: How much does a makeup artiste decide the kind of looks that a star should have in the typical Indian film scenario?

Roshan: Now that’s a tricky question. Let’s face it, in the commercial film scenario; it’s the faces of stars that sell a film. There is no denying the stardom or the face value of actors, which is often considered as the chief selling point of a film. A makeup artiste in this framework would have to create a character, all the time maintaining the face value of the actor before him. It’s easier if the role demands a radical change in appearance, or else the task gets even tougher. Thankfully, I have worked with directors and actors with whom I have been lucky enough to hold detailed discussions on the kind of looks that a character demands.

BB: Could you tell us a bit on how the ‘Pazhassi Raja’ experience was? Such a mammoth film on such a grand scale, and innumerable artistes – must have been one hell of a job for sure?

Roshan: I was not much known to people in the Malayalam film industry when I joined ‘Pazhassi Raja’. I am based in Delhi and had worked in a few English films, but it took merely a couple of days before they got to know me and vice versa. It was an honor being part of such a huge film, and I started working on it based on the discussions that I had with MT  Vasudevan Nair sir and Hariharan sir, and the caricatures that were drawn by Namoodiri sir. I did not have to come up with any ideas of my own for ‘Pazhassi Raja’; everything about the characters was predecided, and I was entrusted with the task of creating these characters as the makers had conceptualized them.

BB: Great…it was such a pleasure talking to you, Roshan! We do hope we would get to see much more of your skills in Malayalam films in the coming years!

Roshan: My pleasure! Thank you!

“Today is undoubtedly one of the best days of my life. I am doubly ecstatic, since ‘Byaari’ has been selected as the Best Film, and its a matter of great pride for me that I was considered for the Best Actress award along with an amazing actress as Vidya Balan. And what’s more, I also had a small, but significant role to play in ‘Indian Rupee’ which has been selected as the Best Malayalam film,” the beautiful actress revealed to Balcony Beats. “Today is my mother’s birthday, and probably this is the best gift that I can give her on this day!” she added.

Mallika, who had made her debut in Malayalam films through the Adoor Gopalakrishnan film ‘Nizhalkuthu’ shot to fame with her role in Cheran’s Tamil film ‘Autograph’. She was soon in several other Malayalam films too, like ‘Snehaveedu’ and ‘Indian Rupee’.

Currently, Mallika has just completed shooting for M A Nishad’s new film ‘No.66 Madhura Bus’, in which she has been paired with Tamil actor Pasupathy. If the pre-release reports are to be believed, she has come up with a towering performance in the film. As they say, real talent finds ways of expressing itself, and let’s hope that we get to see much more of this lovely actress in Malayalam films.