എഴുതുമ്പോൾ ഫോർമാറ്റിനെ കുറിച്ച് ധാരണ ഉണ്ടായിരുന്നില്ല KishkindhaKandam Writer Bahul Ramesh Interview
~PR.16~CA.26~
~PR.16~CA.26~
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00:00What changes have you seen in your life this week?
00:03I am able to sleep peacefully.
00:06I don't have any tension.
00:08I don't have any anxiety.
00:13Especially, the great happiness that happened today,
00:16happened just before I came here.
00:21It's a great thing that an artist who has to leave for a shoot
00:25can give us that much time.
00:30When he heard about it, he liked it a lot.
00:33He hugged me and showed a lot of love.
00:36He said, we can do it as soon as possible.
00:41At that time, Yashanet's Midhunam, Advaitam, Chintavishti and Samada.
00:45I used to watch these three films repeatedly.
00:48When I spoke to him directly,
00:50it was an interstellar moment for me.
00:52Kumar sir brought me here.
00:55I have never felt that I am a successful cinematographer.
00:59To be honest.
01:00For the last 5-6 years,
01:02it has been a hustle for satisfaction.
01:10Hi, fellow viewers. Welcome to our show, Untold with Ajin.
01:12Today, we are going to tell you some untold stories.
01:15People are accepting Kishkindhanam theatre in a big way.
01:19We have invited the writer and cinematographer, Bafla.
01:25What changes have happened in your life since the release of this week's film?
01:30I am very satisfied now.
01:32I am relaxed now.
01:34For the last 5-6 years,
01:36it has been a hustle for satisfaction.
01:40Now, there is an element of satisfaction.
01:45I am happy with that.
01:47Did you sleep well?
01:49Yes, I did.
01:51It was not a sleepless struggle.
01:53But, I was able to sleep happily.
01:56I was not tensed.
01:58I was not worried about the outcome.
02:01I had no anxiety.
02:03I called home at night and slept well.
02:07A week has passed.
02:09I have been doing well.
02:11I have been receiving positive feedback.
02:14I have got a production.
02:16A great happiness that happened to me,
02:18happened just before I came here.
02:22Eskumar sir, the cinematographer,
02:24called me after watching the film.
02:26He called me now to give his feedback.
02:28He told me that he liked the film.
02:30He told me how it was.
02:32It is very special for me.
02:36When I was in school,
02:38in UP high school,
02:40I had not decided my profession.
02:43But, I had watched the films of
02:45Mithunam, Advaitam, Chintahashtriyachamala,
02:47Yashanet repeatedly.
02:49I loved the visuals.
02:51But, I had not decided my profession.
02:54I just loved the texture of the film.
02:59I have been watching the films
03:01repeatedly.
03:03That is how I got interested
03:05in the field of cinematography.
03:07Not cinematography,
03:09I got interested in cinema.
03:11I got interested in cinema.
03:17I was inspired by the passion
03:19that I had at that time.
03:21Later, I started taking cinema seriously.
03:25When I called Eskumar sir
03:27directly for the first time,
03:29it was an industrial moment for me.
03:33I told him that I came to cinema
03:35because of him,
03:37even though it was not directly.
03:39They brought us here.
03:43I think Eskumar sir brought me here.
03:47Usually, cinematographers
03:49are involved in pre-production
03:51and production only.
03:53In post-production,
03:55the role of cinematographers
03:57is very less.
03:59Usually, they have the diaries
04:01related to the shoot.
04:03Not only that,
04:05they travel from one set to another.
04:07Do you enjoy the extra pressure
04:09that the script writer
04:11puts on the film?
04:15Yes, I do.
04:17I enjoyed the post-production
04:19period the most.
04:25After that,
04:27I enjoyed the final cut
04:29of the post-production
04:31for the last 4-5 months.
04:33I tried different things.
04:35I tried 6 core projects.
04:37I tried A to Z things.
04:39I was present there.
04:41We don't have to do anything.
04:43The technicians and editors
04:45are better than us.
04:47But we can see what they do.
04:49We can see their possibilities.
04:51Sometimes, we can express our
04:53opinions.
04:55Sometimes, they change us.
04:57There is a learning process.
04:59Sometimes, we can learn
05:01what we are going to do in the future.
05:03It was a lot of fun.
05:07Will there be any questions
05:09regarding the unnecessary
05:11pressure?
05:13As a cinematographer,
05:15when you are successful,
05:17will there be any questions
05:19regarding the film?
05:21I have never felt
05:23that I am successful as a cinematographer.
05:25To be honest,
05:27I have only done a few small films.
05:29I have never done
05:31any big projects.
05:33I don't think I have been able
05:35to do any big projects.
05:37When we call for work,
05:39we have a concern
05:41about the financial aspect.
05:43When we spend months
05:45on a project,
05:47when we miss
05:49the work,
05:51it is a job opportunity
05:53and at the same time,
05:55it is a revenue opportunity.
05:57When we sacrifice that,
05:59we will have a small concern
06:01for a while.
06:03It is not for our film.
06:05We will regret
06:07that loss
06:09eventually.
06:11Do you remember
06:13meeting Asif for the first time?
06:15Yes, I do.
06:17The first time I met him
06:19was when I went to the city
06:21of Kavyudhishtha for a short film's
06:23poster launch function.
06:25He showed me the poster,
06:27and asked me to take a photo
06:29and post it on Facebook.
06:31It was a marketing strategy
06:33in the short film industry.
06:35After so many years,
06:37you have become the most
06:39popular film writer
06:41in the world.
06:43Your friendship
06:45must have grown a lot.
06:47How did you
06:49meet Asif as a friend?
06:51He is a person
06:53who values friendship.
06:55Asif has a certain
06:57comfort.
06:59He is not intimidating
07:01and does not feel
07:03cinema formality.
07:05It is his greatness.
07:07He is very casual
07:09and does not
07:11have any formality.
07:13I used to say
07:15that if I had done
07:172-3 films in a big cinema,
07:19I would have had a lot of
07:21connections and exposure.
07:23I still have the same
07:25lifestyle as I did
07:27when I did short films.
07:29I still get excited
07:31when I meet
07:33people I did not know
07:35and were fascinated by.
07:37I gave an example of this
07:39to Kumar sir.
07:41Asif would have
07:43never had to show
07:45such excitement.
07:47It is a great advantage
07:49when you go to tell a story.
07:51There was not enough time.
07:53I had to impress him
07:55that I should not
07:57waste his time.
07:59I had to convince him
08:01to come to the room
08:03when he was shooting.
08:05The story was going to be told
08:07at the shooting location
08:09of Kothin.
08:11He said,
08:13let's sit freely in the room.
08:15It was a late night shoot
08:17with a fight sequence.
08:19He said,
08:21let's sit in his room
08:23and narrate the story.
08:25I said,
08:27let's narrate it in detail.
08:29He said,
08:31let's do it.
08:33It was a late night shoot
08:35with a fight sequence.
08:37He said,
08:39let's sit in his room
08:41and narrate the story.
08:43It was a late night shoot
08:45with a fight sequence.
08:47I said,
08:49let's sit in his room
08:51and narrate the story.
08:53We were in high school
08:55at that time.
08:57Did he have an idea
08:59that it was going to be
09:01such a big movie?
09:03Was it going to be
09:05a big movie
09:07because of its complexity?
09:09He liked it very much
09:11and he was very fond of it.
09:13He was very fond of it.
09:15He was very excited
09:17about the movie.
09:19He called Asika's wife
09:21and asked her to call him
09:23immediately.
09:25I don't know if he got her call
09:27or not.
09:29I don't remember
09:31whether she picked up the call
09:33or not.
09:35I called Alex
09:37who was in charge of
09:39the production.
09:41It was a late night shoot
09:43and we were very excited
09:45about it.
09:47I don't remember
09:49whether she picked up the call
09:51or not.
09:53After that,
09:55who did you pick up?
09:57After Asika,
10:01Kuttetan
10:03or Aparna.
10:05I think it was Aparna.
10:07Did Kuttetan
10:09pick you up?
10:11When Kuttetan
10:13wrote the script
10:15and we were thinking about
10:17the casting,
10:19Kuttetan was the first
10:21guaranteed option.
10:23He wrote the script
10:25and when I gave him
10:27the script to read,
10:29he was the first one
10:31to read it.
10:33He said,
10:35if Vijay Raghavan did it,
10:37it would be perfect.
10:39Vijay Raghavan has a fire in him.
10:41So, we wanted to
10:43pull off his talent
10:45and experience.
10:47We wanted to
10:49pull off his acting skills.
10:51It's not in our hands.
10:53We are confident
10:55that we can't
10:57gamble with someone else.
10:59We are confident
11:01that we can do it.
11:03He is the king
11:05in Meghalaya.
11:07There are three actors in Meghalaya.
11:09Ashokan, Jagadeesh,
11:11and Vijay Raghavan.
11:13These three actors
11:15are well-known
11:17and well-recognized
11:19performers and directors.
11:21How is
11:23the new sharing
11:25between you and them?
11:27We are artists.
11:29How is the new
11:31artist-writer relationship?
11:33When we were shooting,
11:35we couldn't interact
11:37much with them
11:39because of the camera.
11:41But,
11:43we talked about
11:45this film.
11:47As I said earlier,
11:49I am still a person
11:51who is out of the film.
11:53I told Ashokan
11:55that he is
11:57a souvenir of Padmarayan sir.
11:59When I see him,
12:01I remember Padmarayan sir.
12:03He is a person
12:05that we can't access.
12:07Ashokan is a bridge to that connection.
12:09Even if there is a gap,
12:11I talk to Ashokan.
12:13I get scoops
12:15about Padmarayan sir.
12:17I tell him about
12:19the past,
12:21how it was in Arappattakutty Ramam.
12:23Jagadeesh sir is
12:25a person
12:27who is
12:29very responsible to people.
12:31The things he says
12:33and the films he makes
12:35are very reflective
12:37to people.
12:39Jagadeesh sir's films
12:41are very trustable.
12:43How did you contact him?
12:45I told him
12:47about the things
12:49Jagadeesh sir mentioned
12:51in our story.
12:53Jagadeesh sir told me
12:55about the things
12:57Jagadeesh sir told me
12:59and I told him what I knew.
13:01He emphasized the mistakes
13:03that we had done.
13:05He asked me to
13:07make a 100% contribution
13:09so that we won't
13:11be limited
13:13in the way we designed this.
13:15We should still be able
13:17to improve.
13:19We will be enhancing you
13:21experience.
13:23Jagadeesh sir told me about
13:25everything.
13:27I can do it this way, or I can do it this way.
13:34Think about it and let me know.
13:36If it's okay with you, I'll do it this way.
13:38It's not like I'm forcing you to do it.
13:43It's a very healthy communication.
13:47If someone gives us good stuff, we'll do it.
13:51Generally, when you design a film,
13:57the opening scene should be like this.
13:59There should be a high point in the middle.
14:01There should be a punch in the interval.
14:03It should go at this pace when it comes to the climax.
14:05Climax, end.
14:07Kishkindhana's next two films were one of those high moments.
14:14People enjoyed the interval block a lot.
14:19Did you really spend a lot of time on the interval block?
14:22No.
14:24The blocks, structure points, inciting incidents,
14:29I don't know much about the grammars of these things.
14:33I haven't seen it as a field in writing.
14:36There are a lot of script writing books,
14:39study material, three act structure,
14:41inciting incident, second inciting incident,
14:46darkest hour of the hero,
14:48I don't even know how to read these things.
14:50When I scroll through Instagram,
14:52I see a lot of diagrams.
14:54I don't know what these things are.
14:58I haven't tried to know.
15:00But if you had known,
15:02you wouldn't have been able to do so much.
15:04If I had known, I would have become conscious.
15:06When you don't know,
15:08ignorance is bliss.
15:10We can do it without fear.
15:14When we know,
15:16we tend to ask,
15:18do we have this?
15:20Do we meet this parameter?
15:22Is it like this?
15:24There might be a conscious awareness or tension.
15:26Without knowing that,
15:28we ask, what do you think?
15:30I told this to a person yesterday.
15:34You said about interval,
15:36interval moment.
15:38When I hear it,
15:40many judgments seem silly.
15:42In the movie,
15:44there is a sequence of Kuthirottam Pappu chetan.
15:46He gets a bag from the auto.
15:48He says,
15:50it's the money that the author gave us.
15:52He has to call everyone
15:54and distribute it equally.
15:56When he distributes it to someone,
15:58he gets a bundle and says,
16:00this is Rs.2000.
16:02I had a similar judgment.
16:04When I was typing,
16:06I realized it was 50-60 pages.
16:08I thought,
16:10I have to make an interval in the next 10-15 minutes.
16:14After a while,
16:16when I started typing,
16:18I realized it was 120 pages.
16:20I thought,
16:22I can make it to 40 pages.
16:24In that way,
16:26it was unorthodox.
16:28Again,
16:30Arvind Laima's...
16:32That's true.
16:34When I tell this to the writer,
16:36it's very...
16:38When I work with Gisethan,
16:40he has a checklist
16:42of all these things.
16:44How the scenes should go,
16:46actors' performance.
16:48When I was doing cinematography,
16:50there was a way to approach the script.
16:52You mean,
16:54to see it from the outside?
16:56No, I worked as a cinematographer.
16:58The experience of approaching the script
17:00was very helpful in this.
17:02There,
17:04the independent calls
17:06were made based on the director's vision.
17:08So,
17:10based on their brief,
17:12our plans were decided.
17:14Gisethan has a lot of freedom.
17:16But,
17:18Gisethan should have
17:20a lot of possibilities
17:22for the editing table.
17:24He changes a lot of orders,
17:26shots, dialogues.
17:28Especially in dubbing,
17:30he's another king.
17:32He's brilliant at changing the story in dubbing.
17:34If you want an option,
17:36you need a lot of shots,
17:38a lot of close-ups.
17:40If you want to change the story in editing,
17:42you need to change the dubbing.
17:44If you want to change the dubbing,
17:46you need a lot of angles
17:48to play in editing.
17:50So, when Gisethan shoots a lot,
17:52he has to keep that in mind.
17:54In post-production,
17:56he needs ultimate freedom.
17:58Has Iskintayal done such things?
18:00Has Iskintayal done such safe things?
18:02No.
18:04Precise?
18:06Yes, it was precise.
18:08When you do a thriller,
18:10do you have a loophole?
18:12Or do you usually consult
18:14with 2 or 3 people?
18:16Do you usually let them read it?
18:18Are there any problems with it?
18:22Fasil sir read it.
18:24The director said so.
18:26So, when that happens,
18:28do you have a thought
18:30to find a loophole?
18:32We don't have a particular target
18:34to find or fix all the loops.
18:36We don't have a particular target
18:38to find or fix all the loops.
18:40We try to fix
18:42what we notice
18:44as much as we can.
18:46But we can't make it 100% perfect.
18:48We can only do it
18:50within our limits.
18:52We can do a close-up.
18:54We can edit it till the shoot starts.
18:56When the shoot starts,
18:58if there is an error,
19:00we tell the ID's
19:02not to think of it as a formality.
19:04If there is any mistake,
19:06you have to correct it.
19:08There is no problem in saying it.
19:10If it is good,
19:12we can correct it.
19:14Many people have contributed to this.
19:16During the shoot,
19:18we have tried to correct
19:20the mistakes
19:22as much as we can.
19:24Even now,
19:26there are certain areas
19:28that need to be corrected.
19:30We have to learn
19:32those areas.
19:34When we work in the future,
19:36we have to pay attention to those areas.
19:38Even then, we won't reach
19:40the level of saturation.
19:42As I said,
19:44we shouldn't strive for perfection.
19:46We should do our best
19:48to reach that level.
19:50What are the next steps?
19:52From the writer of Krishnan,
19:54there is a pressure link
19:56between the writer
19:58and the people.
20:00Has that started?
20:02If we think like that,
20:04we won't do anything out of fear.
20:06If we think of the pressure
20:08of responsibility and tension,
20:10we will be afraid to do anything.
20:12Even if we are going to do something
20:14without much thought,
20:16we have to do it
20:18as if it is our first work.
20:20That's what I think.
20:22We shouldn't be afraid.
20:24When we do something,
20:26we should be able to enjoy it.
20:28If it takes a few days to write,
20:30we should be able to
20:32enjoy those days
20:34without any tension.
20:36If we keep these anxieties in mind,
20:38we won't be able to enjoy those days.
20:40What would be a comment
20:42from your family or close friends
20:44after watching the film?
20:46Everyone has said the same
20:48comments.
20:50Was it a surprise?
20:52Was there a reaction
20:54like, Bahulia, this is you?
20:56Yes, there were people like that.
20:58What was the most
21:00inspiring comment
21:02from the film circle?
21:04There are a lot of people
21:06whom we feel happy
21:08when we know
21:10that they called us
21:12and appreciated us.
21:14The big names in the film
21:16called us and talked to us.
21:18If you don't know their names,
21:20you might miss them.
21:22But as I said,
21:24when I was studying in TV,
21:26I saw a lot of seniors
21:28who were fascinated by the film.
21:30A lot of people who were
21:32fans of the film called us
21:34and talked to us.
21:36Sathyananthika started
21:38when the film was released.
21:40Vinanma Rashid played the role.
21:42Sujith Vasudev played the role.
21:44Vinodhillambulli played the role.
21:46Saiju Sridharan played the role.
21:50Mahesh Narayanan played the role.
21:54He told me a lot of things
21:56in detail and gave me
21:58a response like,
22:00I got a response
22:02after seeing Christopher Nolan's film.
22:04Was there a stunning
22:06moment in the film?
22:08I don't know why he felt
22:10like that.
22:12He was an expert
22:14in his field.
22:16He was a killer editor,
22:18director, script writer,
22:20producer.
22:22He was a master craftsman
22:24who knew how to
22:26handle the film altogether.
22:28When I heard a comment
22:30directly from him,
22:32it was very special.
22:34Yesterday, Roshan Bruce
22:36called me and
22:38talked to me.
22:40Sorry.
22:42We always have a desire
22:44to make a film with
22:46Mamooka and Lalettan.
22:48Mamooka is a person
22:50who always welcomes
22:52a wide variety of scripts.
22:54Do you have
22:56any thoughts like that?
22:58Do you want to make a film with Mamooka?
23:00Of course, I have a desire.
23:02Everyone has a desire
23:04to work with them.
23:06I definitely have a desire.
23:08As I said earlier,
23:10I don't think
23:12I can develop a film
23:14with my thoughts.
23:16I don't think I can develop a film
23:18with my thoughts.
23:20My brain doesn't have
23:22that much efficiency.
23:24So, I try to develop
23:26a film with my thoughts
23:28while I am typing.
23:30If it doesn't work,
23:32who knows, it might affect the film.
23:34We don't take any commitment
23:36from anyone.
23:38That's why we can sit comfortably.
23:40No one knows.
23:42Krishkanthannam is a
23:44successful director
23:46who has no title yet.
23:48He has a big role
23:50in the box office.
23:52A writer from abroad
23:54is reaching a lot of people.
23:56People are starting to appreciate
23:58his work.
24:00Thank you for the time and all the best.
24:02Thank you so much.