<![CDATA[India Journal - Interviews]]>

<![CDATA[India Journal - Interviews]]>Thu, 06 Apr 2023 03:30:25 -0700Weebly<![CDATA[Right Stories Can Shape Lives For The Better: Kirubhakaran]]>Mon, 17 Jun 2019 07:00:00 GMThttp://www.indiajournal.com/interviews/right-stories-can-shape-lives-for-the-better-kirubhakaranBy Sonam Mirpuri
Loving and appreciating the art of storytelling is one of the reasons Kaarthikeyan Kirubhakaran, 53, began his adventurous journey in the entertainment industry about 30 years ago. He truly believed and continues to believe that the right stories could shape lives...

for the better. Kirubhakaran’s most recent film, ‘His Father’s Voice,’ brings to light the child’s perspective when their parents fight and ultimately decide to split.The main cast includes Christopher Gurusamy, Jeremy Roske, Julia Koch, Sudharma Vaithiyanathan, P T Narendran, and Ashwini Pratap Pawar. Kirubhakaran wore many hits -writer, producer, cinematographer and director in order to bring this movie to life.
Excepts from an exclusive interview with IJ:
Q .What inspired the story?
A. The plight of children torn between parents who can no longer get along. Families breaking up for a lack of love and understanding, and the heavy emotional price that children are forced to pay, for no fault of theirs.
Q. How did you write the scripts?
A. A lot of it was written on my phone. It grew slowly, around the central core of a father’s longing to be with his son. The scenes came together, at the oddest moments, in the midst of other activities. I knew that the inspiration would pass if I did not surrender and write at that moment. It is like the call of a child that you cannot ignore. You have to put aside all else.
Q.Why the title His Father’s Voice?
A.Perhaps because, I am a father and the film itself is an expression of my love, for my children.
Q. How long has the His Father’s Voice process taken?
A. The screenplay of the film, was written over a period of six months. It began with my first experience of loss, of a loved one, at the age of fourteen.
Q. What obstacles did you face?
A. The first requirement is to be able to pitch the story well. Usually, these are extremely busy people with short attention spans. I found it incredibly difficult to pitch my story to them, in just a few words. I would find myself talking a little too much about the ambiance and the setting, than about the story itself. That didn’t help.
Q. Was it difficult to find funding for this film?
A. Yes, it was, as the film is a family drama, and an original screenplay, outside the mainstream.
Q. After being part of multiple aspects of film making, which aspect do you enjoy most? Why?
A. I enjoy writing the most. It is here that you are free to dream and write the impossible. You risk only your own ego. In every other aspect of film making, the cost of failure is terribly high, not just to yourself, but also to everyone else, who has a financial stake in the project. It is a huge responsibility.
Q. Which aspect of film making was the most challenging? Why?
A. The most challenging aspect of film making is convincing people that they can actually do better. Sometimes, people with less experience can give more to a project than those who are terribly sure of themselves. In such a case, how do you make them even better? That is the challenge.
Q.What was the significance of Ramayana in the backdrop of the story?
A. Ramayana is an epic that deals in significant measure, with this issue of separation from a loved one. The stories from this epic are often adapted for Indian Classical Dance. The dance drama, derived from the story of Rama’s separation from his sons, becomes an interesting backdrop as the son, grapples with his own emotions, towards his father.
Q. Knowing what you know now, if you could go back in time, would you have made any different decisions?
A .Fortunately, I have no regrets. I’m aware that I may make different decisions in the future, under similar circumstances. I try to do my best and that is all that matters.
Q. What advice would you give individuals today who are trying to make it in this industry?
A .Please don’t try to make it. It is better to fail and find your own voice in the process than to succeed as a parrot!
Q .How do you feel about the representation of South Asians in the media?
A. It is important to be aware of the bias, in any representation. All we can do is to strive for authenticity, in what we choose to represent.
Q.What are your goals in the industry and in life?
A. To make films that contribute to making this world a better place. To live every moment, as though it were my last!
Q. What are your upcoming projects?
A. My next film will focus on the power of habit to shape our life, and how the only true revolution, is the one we live, inside of ourselves.
‘His Father’s Voice’ is now available on Amazon Prime in the U.S., Canada, and Australia.

]]><![CDATA[Formulas Make me Claustrophobic : Tabu]]>Wed, 10 Apr 2019 04:38:58 GMThttp://www.indiajournal.com/interviews/formulas-make-me-claustrophobic-tabuBY NEHA SARIN
Tabu is not just a pretty face, she is a mighty actor who carries these twisted & odd roles proudly. She is a non-conformist who has danced to her own beat. Black, white and gray, this actress has done it all in her wide array of films. Her latest film `Andhadhun’ is the opening night film of the Indian Film Festival of Los Angeles

(IFFLA) April 11 at the Ahrya Fine Arts movie theater in Beverly Hills. IFFLA runs April 11-14 at Regal LA Live.
Q. What was your experience working on this marvelously twisted tale Andhadhun and with Sriram Raghavan?
A. It was exactly the way the film was especially because my character is like that. She is making up things as she is going. You don’t know what’s going to happen. As a script, it’s not even a slightly predictable storyline. It’s a skill to manage that as a filmmaker. In a film like this, you cannot have set reactions or responses. And with Sriram being so democratic, you can bring in your own stuff. The tough part is to do everything within the framework of the plot as the plot cannot change.
Q. You have played an impressive range of roles in diverse genres that most actors can only dream of – serious and thought-provoking, comedy, thriller, art house, and mainstream Bollywood. What speaks to you when you select your roles?
A. Looking back in retrospect, when a script comes, there are so many factors. It was a conscious choice but I cannot be in control of what I am being offered so that way I feel I was lucky. I have been offered anything and everything. That’s a great thing. I have never shied away from doing different roles and characters.
Q. You have portrayed two Shakespearean heroines Ghazala of ‘Haider’ (Gertrude of Hamlet) and Nimmi of ‘Maqbool’ (Lady Macbeth of Macbeth), both tormented characters, with depth and brilliance. How did you prepare for those roles and what was your feeling when you watched them on screen?
A. I don’t think I prepare. I think no matter how much you prepare in your head but when you go on set, it’s different. I don’t know what preparation takes, maybe because I am not a trained actor who has gone to a film or a drama school. I also feel that you can prepare for action sequences, but it’s harder to prepare for stuff that involves other people. It depends on the synergy you have with them. When Vishal came to me with ‘Haider,’ I knew I was her after a two-scene narration. I knew that no one had seen something like this, and it was an educative experience for me to evolve from. ‘Maqbool’ and ‘Haider’ are two of my best roles and I have to thank Vishal for bringing me such iconic characters from literature.
Q. Why the recent interest in negative roles – ‘Missing,’ to some extent ‘Drishyam,’ and of course ‘Andhadhun’?
A. It’s not recent. I played a negative role in ‘Jaal’ in 1999. ‘Astitva’ was gray I think. ‘Chandni Bar’ was gray, ‘Maqbool’ was totally dark. ‘Andhadhun’ was unapologetic and dark and twisted and there is no justification. It’s a character driven by simply circumstances and situations and there is no fuss about that. There is no remorse and no moral compass in her and she is relentless. She is not thinking at all.
Q. How much of that character was framed by you?
A. Sriram, Pooja and I kept talking about it, on set, between shots. I must have brought in a bit of who I am as an actor.
Q. You are ranked alongside India’s most talented actresses such as Shabana Azmi and Smita Patil. Were these two, and which others, a source of inspiration for you?
A. Growing up I was never a movie watcher. I was 16 when I started acting, so there was studies and work. I came into this very accidentally, very reluctantly. So I never had any reference points of actors. I just wanted the best of me to be out there in my work.
Q. But what drew you into acting then, what kept you going?
A. Initially you enjoy the attention and the song and dance, the compliments, the male attention and then the independence of earning your money. But somewhere I kept looking for experiences to grow and express myself. So subconsciously I looked for things that allowed me to express and be me. The 90’s was not very open or forgiving to the gray characters I played. Now it’s the cool thing to do. I feel claustrophobia with set formulas. In some things, formulas and patterns work. But even in that, I was not convinced that there was one particular way of doing it. You are constantly changing, evolving. Your needs, criteria or barometers vary.
Q. Any dream directors you would like to work with?
A. Tarantino. He will just make one more film, so I don’t think there is any chance. I don’t just want to work with a name. It’s everything. But I can work with Sriram all my life! I am so glad that I had that experience with him, Pooja and the whole team. The best thing about ‘Andhadhun’ was that for the first time I have literally owned the film, the character and the success of the film. And I am sure everyone involved in the film feels that way. Sriram made everyone feel like it’s their work. He is completely divorced from ego, taking credit. So everyone feels it’s our film. For more information visit www.indianfilmfestival.org

]]><![CDATA[ANDHAdHUN'S SRIRAM RAGHVAN: Blindly Brilliant!]]>Mon, 01 Apr 2019 22:46:59 GMThttp://www.indiajournal.com/interviews/andhabhuns-sriram-raghvan-blindly-brilliant
Sriram Raghavan is the film director and screen writer known widely for producing a 45-minute docufiction on Indian serial killer Raman Raghav and the 2004 Hindi feature film Ek Hasina Thi produced by Ram Gopal Varma. His second feature film was 2007’s Johnny Gaddar followed by Badlapur. His latest film Andhadhun has been the talk of the town. A must watch thriller, it will play at IFFLA’s opening night on April 11,2019 at Ahrya Fine Arts movie theater in Beverly Hills. Los Angeles.

Q: By winning several Filmfare awards this month, including Critics Award for Best Film, Andhadhun has received validation from audience and critics alike. What does this mean to you?
A: I don’t think any filmmaker thinks of awards and accolades whilst making a film. At that time, the focus is only on trying to tell the story as good and cinematically as possible. Andhadhun was a little film with minimal marketing and a modest release. We got terrific reviews which felt good, but what I definitely didn’t expect is the overwhelming love from audiences. The ending became a talking point. It’s one of the rare cases when the second weekend did more business than the first. It’s the viewers and +ve word of mouth that made it a success. Awards are fine as long as I don’t take it seriously. Awards make parents very happy.
Q: With the success of Johnny Gaddaar and Andhadhun, you have come to be known as the master of twisted tales. Why do mind-bending plots fascinate you so much?
A: I get terrified of hyperboles. There is only one master and he is Sir Alfred Hitchcock. We are all his students. Right from my school days, I was attracted to crime fiction. American hardboiled detective stories, pulp fiction, noir and more. I guess it’s the thrill of vicariously living an adventure in your head. Enjoying a terrifying experience, and thinking, Thank God, it’s not happening to me. Within the thriller genre, there are so many stories and themes one can explore.
Q: In Andhadhun, you lay out the clues and then challenge the audience to put them together to figure out what happened – like a game. How did the idea for this clever film originate? Share with us how some of the unexpected twists developed while working on the story line.
A: Some years back, I saw a terrific 11 minute short film, Le Accordeur. The film ended on a tense note but I found it very funny. We took that as a basic inspiration and decided to work out our own back and forward story. We had no idea what our second and third act would be. We kept trying story lines and rejecting them because they reminded us of some old classic or the other. I love Wait Until Dark, so I said, we should NOT borrow any big ideas from there. No Daredevil ideas either. And so on. Try and eliminate the expected stuff….because the audience is predicting the story too. We were a gang of writers so it was more fun than work. It was a process of free writing and brainstorming. We debated the end like crazy. The blind rabbit came into the story much later. In between we made Badlapur. I can go on and on.
Q: In Badlapur a profound twist/irony occurs -- the hero is ultimately lost to darkness while the villain redeems himself. Do you consciously try to bring such moral issues into your films since most of them are essentially about crime and deceit?
A: We all love revenge stories, mainly for the catharsis in the end. Whether it’s Deathwish or Sholay or Ghayal, we are geared to root for the vengeful hero. BADLAPUR was an anti revenge story. It’s a disturbing tale and makes a point you may or may not agree with. To make the viewer shift allegiance from hero to villain was a challenge. I had superb actors. I was lucky to get such a story.
Q: What should we expect in your next film? Give us a clue.
A: I am working on a drama that’s completely out of my comfort zone. It deals with the 1971 war and is a human story. I am both excited and terrified. Alongside, I am working on a little noir love story. It’s about two strangers who meet one evening and…I am not giving anything more away.
Q: Your Johnny Gaddaar was screened at IFFLA 2007. You are returning next month to IFFLA with Andhadhun, and this time it will be showcased in the prime Opening Night slot. Why are film fests, and especially IFFLA, important for you and your films?
A: I don’t think I make what some term as ‘festival’ films. My films may not be typically ‘commercial’ but they are for mainstream audiences. Festivals of course have tremendous value, showcasing your film to a completely fresh audience. IFFLA is extremely dear to me, because JOHNNY GADDAAR was screened here… my first film at any festival. It gave us a huge high. This time it’s the opening film and that’s an honour.

]]><![CDATA[Dance is My Life’s Breath: Vyjayantimala]]>Fri, 25 Jan 2019 20:41:45 GMThttp://www.indiajournal.com/interviews/dance-is-my-lifes-breath-vyjayantimalaBy KALYANI VASAN
Born in 1936 into a traditional Tamil family in Chennai, Vyjayantimala Bali was expected to live an ordinary life: marriage followed by children. However, her life was far from ordinary. She was destined to become India’s first celluloid superstar, a Bharatanatyam dance icon, a Padmashree awardee, and even a two-time parliamentarian. Vyjayantimala even in her eighties still leaves you spellbound...

with her beauty and a spunky zest for life that is infectious. Her 2018 dance performance has even gone viral on YouTube! On a recent visit to the Southland, speaking with India Journal in an exclusive interview, the actress, dancer and politician had this to say:
Q: Let us start with the top tier: your two term Indian Member of Parliament experience.
A: It just fell into my lap. I had never envisioned a political career, I just wanted to be a dancer. However, a chance meeting with Rajiv Gandhi had me saying yes when he requested me to contest for the Congress in the upcoming elections without thinking. I was also encouraged by my husband and as fate would have it, I entered the Lok Sabha in 1985 as a staunch supporter of the ruling party led by Indira Gandhi. I remember asking my husband, “You ask me to serve the people, am I not doing that as an artist?” He said that politics would give me a chance to serve the people on a more personal level. So, with that in mind I asked people to vote for me as I was sincere in my intent. I even praised my opponent, a seasoned politician! He, on the other hand, would malign me saying I was only good enough for grease paint. His strategy back fired and I won with a landslide victory not just in 1985 but also in 1989!
Q: Your political career led to a friendship with the then Prime Minister, Indira Gandhi.
A: Oh yes! Indiraji was a gracious and dignified lady. We shared a strong bond as two women in politics. She was the most intuitive person I have ever known. Once, during a visit to the Raj Bhavan, my husband began to speak when clearly Indiraji was deep in paperwork, I signaled him to stop. She sensed this and quickly raised her head and asked me to let him speak! I always greeted her with a namaste and and she would give me her brilliant smile. Her father Pandit Jawaharlal Nehru was also a very gracious gentleman.
Q: Tell us a little about your family growing up.
A: My family was very conservative and valued the Tamil tradition. My mother was only 14 years old when she gave birth to me. I always thought of her as my sister and even called her Akka, meaning sister. It was my grandmother who raised me,-took me to dance lessons and insisted that I attend a convent school. She was my chaperone throughout my film career and till today I have never gone alone anywhere. My father and my husband were my other constant companions. I have a son who is married and the gift of two granddaughters-Swara and Sahitya.
Q: How did a middle class Tamil girl become a celebrated Bollywood super star?
A: My first movie was in Tamil which was later remade in Hindi called `Bahar.’ I did not know Hindi and had to teach myself. I was lucky to work with phenomenal directors and co-stars. I have also acted in Tamil and Kannada films. The film `Sangam’ became my biggest blockbuster as in that film everything seemed synchronized to perfection-the script, the director, the music, the cinematography and the actors.
Q: You are a dance legend and you still continue to dance and even give performances. Most recently a dance performance you gave in 2018 has gone viral on YouTube!
A: Dance is my life’s breath; the divine force guides me. My son, Suchindra is always beseeching me to stop, worried that I could hurt myself. My answer-“I know my limits and how far I can push myself. My spirituality is always the blessing that has given me the strength to continue doing what I love the most.”

]]><![CDATA[Reena Esmail: Music Creates Spaces for Cross-Cultural Dialog]]>Mon, 02 Jul 2018 19:48:08 GMThttp://www.indiajournal.com/interviews/reena-esmail-music-creates-spaces-for-cross-cultural-dialog

BY DEVIKA C.MEHTA
Reena Esmail, a full-time composer, who writes for choirs, orchestras and chamber groups all around the country, dreams of creating an equitable space through music while bringing communities into dialogue with one another. Born to a Catholic mother from Goa and a Dawoodi Bohra father from Surat in India, Reena moved to the...

city of Angels with her parents in the 1970s and it was here that her musical journey began. “While growing up, I realized that being one of the very few Indians in my field, I hardly ever got to work with people who shared my cultural heritage. This is why I was drawn to Indian music .It’s what led me to India to study Hindustani music, and it is why I do the work I do today. I just want to find a place in music where I can be my most authentic self, not fully Indian or fully American, but somewhere in between,” Esmail recalled.
Talking to IJ about her interests, she further mentioned, “I was always a composer. I was always creating music, in whatever capacity I knew how. But I don’t think it occurred to anyone, least of all me or my parents, that a career as a composer was actually a possibility for me. It wasn’t until I attended the Los Angeles County High School for the Arts that a theory teacher identified my ability and placed me on the career track that led me to where I am today.”
Informing about her work, Esmail stated, “Many of my large works incorporate both Hindustani and Western musicians, and because I am trained in both styles, I understand how to write music that makes both groups of musicians feel comfortable and feel that they are able to express themselves within their own tradition. Imagine two people being able to speak their own languages and still somehow be able to understand and communicate with one another, that is what I do through music. I create spaces where cross-cultural dialogue can begin.”
However, dissatisfied with her reach and exposure, she pointed, “Because I am a minority in my field, I am not often able to reach the communities that I come from. I want to build audiences through the Indian community. Most Indians I know have never been to a Western classical music concert, and I hope to change that through my work.”
Struggles and setbacks are also part and parcel of life and Esmail has seen more than one in her musical journey. “Most composers don’t look like me. If you ask someone to name a classical composer, they will most likely say Mozart or Beethoven, likely someone who is male, European and, unfortunately, has been dead for hundreds of years. I fight against stereotypes every day. Our field is thriving, and people of all races and genders write incredible music all the time. Maybe we just need to get a little better at getting the word out!,” she commented.
Happily discussing more about her current work, music and compositions, she informed, “ Last year, I wrote a huge 40-minute piece of music for choir, orchestra, sitar and tabla. The work was called `This Love Between Us,’ and it took texts from seven different religious traditions, and was in eight languages. The sitar and tabla played with a choir from Yale University and an orchestra from the Juilliard School, and we took the entire 65-piece ensemble on tour to India. It was amazing to see the Indian and Western musicians come together and learn from one another, and also so gratifying to see how deeply the piece resonated with Indian audiences.”
“The same piece will be performed on November 18, in Los Angeles, by the LA Master Chorale, and I hope that many Indians will come to see this blending of cultures,” she added.
For now, she does not hold any Bollywood connections, but has an array of musicians who inspire her like Saili Oak, a senior disciple of Dr. Ashwini Bhide Deshpande and Lakshmi Shankar. “I do love Bollywood as well, and actually founded Yale’s Hindi Acappella group in 2010. I love songs like `O Re Piya’ (Aaja Nachle) and `Yeh Honsla’ (Dor), but I would be lying if I said I didn’t also have a soft spot for `Sheila Ki Jawani’ and `Munni Badnam.”
She has big plans for Indian and American kids. “Many of the Indian parents reach out to me all the time. This is why my organization, Shastra has been creating music that Indian and Western musicians can play together, even at an intermediate level. I’ve done many such collaborations with middle school students, and students should feel that whether they are Indian or Western trained, there is a way for them to connect to one another through music,” she said.
Finally, thanking Orchestra Collective of Orange County for their regular performances of her work, she concluded “I love working with the musicians of this orchestra because they play with passion and are always ready to dive into new cultures and music with such abundant joy. It is always a pleasure to work with them and am looking forward to more.”

]]><![CDATA[Gurinder Chadha - The History I Had Been Taught Was a Complete Lie]]>Fri, 08 Sep 2017 19:44:03 GMThttp://www.indiajournal.com/interviews/gurinder-chadha-the-history-i-had-been-taught-was-a-complete-lie

By DEVIKA C. MEHTA
The tragic 1947 partition of India will always be remembered with tears. Time and again, movies on the subject have contemplated the adversities and horrifying truths. Yet again acclaimed film director Gurinder Chadha has decided to explore the topic with keen vision. Chadha has dared to come out of her comfort zone and pin down a...

complex story in ‘Viceroy’s House’. Interestingly, her movies usually rotate around light culture clash-comedies like `Bend It Like Beckham’ and `Bride and Prejudice.’ In fact most of her films explore the lives of Indians living in England. But, this time, the tables have turned with her taking on the lives of British rulers in India and their impact on common Indians.
Talking to IJ, Chadha throws light on her choice of subject and challenges faced.
Calling ‘Viceroy’s House’ an intensely personal subject as her family was dramatically impacted by the partition, she says. “I wanted to make this film to find out why my family had to leave their home and become refugees. My ancestors are from Punjab,in the region which is now part of Pakistan. I grew up in England and didn’t have an ancestral homeland to call my own. So the shadow of the partition has been with me my whole life. My family rarely talked about the partition because it was so raw and painful but my grandmother who lived with us was traumatized by what happened.”
But, who is actually responsible for the partition- politicians, plain circumstances, or fate? She mentions, “At school, the little I was taught claimed that the partition happened because Indians were fighting amongst ourselves and the British has no choice but to divide the country because of the communal violence between Hindus, Muslims and Sikhs. So it was somehow our fault. What I realized during the research is that the history I had been taught was totally a lie, complete lie. Partition was not about neighbors suddenly attacking each other after living together for centuries. It was a political act done deliberately for British strategic interests in India. My intention is to examine how someone like me can look at new historical evidence and explore an alternative historical narrative to what I’d been taught as a girl.”
Was the partition a political act? She confirms and shares her opinion by saying, “My film is based on top secret British documents that look at what Britain and America had to gain from the partition and the creation of Pakistan. As part of my research I read Narendra Singh Sarila’s ‘The Shadow Of The Great Game’, which exposes these top secret government files that had been sealed for 50 years. These documents show that the decision to divide India was influenced by the world map and who would retain power in the region.” The revelation comes with a realization that one must be free from selfness and divisiveness- two issues which are coherent even today. She agrees, “Yes, we are living in a world that is quite divisive. We have politicians talking about building walls and labeling huge groups of people. This film is incredibly topical today as it sends a warning that in this current time of the politics of division and hate, of Trump’s travel ban, and our international refugee crises, that when politicians try to divide and rule people along religious lines, there will be tragic consequences.”
The movie that has been shot in Jodhpur and Delhi has some very wonderful scenes like the one where the Viceroy’s House staff have to divide all the possessions, right down to the utensils, and determine whether they are to stay in India or go to Pakistan. The other is a heartbreaking scene where Huma Qureshi’s character Aalia leaves Viceroy’s House on a train to Pakistan.
Chadha adds, “There is so much talent in India behind and in front of the camera. Om Puri is a national treasure. Huma and other actors have also done a brilliant job.” When asked about the satisfying outcome, Chadha says she is pleased and feels justice has finally come to her grandmother and family. Concluding her interview, Gurinder’s final message to the audience reads: “I hope once I’ve taken you through the drama and the tragedy in this film, there is some hope at the end. One of the things I worked very hard to do was make sure that no Hindus, Muslims or Sikhs were singled out for blame for the violence of Partition. That’s why I chose to interweave these political events with a love story – after all, even when the world is falling apart around our ears, life goes on – people’s hearts endure pain but also have huge capacity for love!” “Remember hatred and division can’t be the future of humanity. The scars of partition still run deep but we must move on from the tragedy. I hope that audiences will find my film healing,” she adds.
‘Viceroy’s House’ opened in Los Angeles on September 1.

]]><![CDATA[Priyadarshini G. Roy - Listen to Your Heart and Love What You Do]]>Thu, 24 Aug 2017 21:29:07 GMThttp://www.indiajournal.com/interviews/priyadarshini-roy-listen-to-your-heart-and-love-what-you-do

BY SONAM MIRPURI
A first of its kind, new, and distinctive reality television show demonstrates fierce competition among six second generation Indian- American women who while participating in the show endeavor to break the preconceived notions and stereotypes about South Asians. The show, “Made in America,” which premiered on ZeeTV on Aug 10,

has the women living together and competing in various challenges. It also features a seventh Indian American who could be considered a role model for the competitors, Nina Davuluri, Miss America 2014, as the host.
Los Angeles resident, Priyadarshini G. Roy, 25, is one of the six participants in this reality television show. After watching an advertisement of the upcoming show with Davuluri on ZeeTV, Roy applied to be a contestant on the show without getting her hopes up. After a rigorous process of auditioning to be one of the participants Roy was picked for the show.
“The audition was one of the longest interviews I had ever been in, but after a few days I got the call that I was cast,” said Roy.
Depicting second generation Indian American women in their real and true forms rather than in any biased, clichéd manners brought a sense of freshness to the mundane concept that has become reality television.
Roy appreciated that she was given the opportunity to represent herself in an honest way to the audience. Additionally, she aspires to form a bond with her fellow second generation Indian- Americans.
“I hope that I was able to reach outside of the four wall of television and touch the hearts of people who can relate to the struggles of our parents and the triumphs we continue to make as a whole,” said Roy.
Being accomplished with many accolades: actor, singer, dancer, model, writer and triple pageant queen; Roy, continues to do what she is passionate about. With her family by her side and as her support system, nothing can stop her from striving to achieve all of the goals she has set out for herself.
“I am extremely blessed with a family that fought against society, relatives and the ‘log kya kahenge’(what will people think) thought process to ingrain never losing touch with our cultural roots while building a modern future,” said Roy.
In spite of being bullied for most of her life, Roy manages to have a positive outlook. She opted to forget about the bad experiences which were imposed on her due to the ignorance of others and focus on how we should all come together.
“Our differences must be utilized as our strength; embracing both cultures; empowering others through entertainment and education instead of retaliation will help fill in any gaps,” said Roy.
With “Made in America,” Roy aspires to be a good influence on the current and next group of Indian Americans.
“I want to be a role model to my peers and younger generations, both male and female: go ahead, be brave, dictate and tell your story to the world,” said Roy. Irrespective of what life throws your way and what the proper life path may be. It is more important to listen to your heart and love what you do because the perks come and go. “Follow your passions. Be the BEST version of yourself that you can be and watch success and destiny come to you instead of you chasing after them,” said Roy. The show airs on Thursdays at 7 p.m. PST on ZeeTV. Watch Roy compete against the other women and continue watching every week to see who wins.

]]><![CDATA[Ojai Fest Will Update Idea Of What Music Is Today]]>Thu, 01 Jun 2017 17:39:12 GMThttp://www.indiajournal.com/interviews/ojai-fest-will-update-idea-of-what-music-is-today

Vijay Iyer’s music is ethereal and dramatic, but he is certainly far from theatrical. The man, who is best known for his experimental and jubilant style, is both observing and sincere in his conversations. He likes to hear a good question, answers to the point, corrects pertinent facts, plays with meaningful laughs in between, and sometimes even comments on weird notions. He is certainly a ‘man of few words’ and very professional in his own ways.

Shifting to his artistic side, Iyer has several accomplishments to his name. He is a composer, bandleader, producer, electronic musician, writer, but the world best knows him as a jazz pianist, who in recent times has garnered much attention in the world of music. In his selections, Iyer always tries to bring in patterns from across the history of jazz, hip hop, South Asian diaspora, Indian classical, abstract electronics, chamber music and more.
Those who know him understand that Iyer’s main platform is the trio format with piano, bass and drums, but his novelty to expand the format while working on musical ideas has set drums rolling.
Now, his audience will get a unique opportunity to witness his style in a more expansive format at the 2017 Ojai Music Festival that will take place from June 8-11. Talking about his elastic compositions and curating experience at the festival, Iyer tells IJ, “I am looking forward to a weekend of stimulation and reflection at Ojai that will celebrate diverse communities of music, artists, and collaborations. When I was proposed the role of Music Director for the Music Festival, it came as a shock to me but as an artist, I like to insert myself into experimental situations and our 2017 festival feels like a good opportunity to update the idea of what music is today. I am sure we all are going to learn so much over those few days in June.”
A MacArthur Fellow, Iyer will join the leagues of Wadada Leo Smith, Muhal Richard Abrams, Roscoe Mitchell, Claire Chase, Tyshawn Sorey, George Lewis’, Joelle Lamarre, Gwendolyn Brown, JuLian Otis, Steven Schick, Sean Griffin, György Kurtág, Lawrence D., and many more astounding artists at Ojai.
Very enthusiastic and eager to work with them, he states, “At Ojai, I will collaborate with people, who inspire me and whom I’ve known and trusted through 20 years of musical exploration. The journey, over a two year period, was a very organic process.”
At the 4-day event, Iyer will also team up with his long-time associate Rudresh Mahanthappa and two living giants of Indian classical music, Carnatic vocalist Aruna Sairam and tabla maestro Zakir Hussain.
Happy to work with the trio, Iyer mentions, “This is a dream ensemble 20 years in the making. Rudresh Mahanthappa has been a very important part of my life. Zakir Hussain is the prime reason music sounds like it does today. Aruna Sairam on the other hand is an icon of south Indian Carnatic music and an innovator who moves across traditions in many different ways. I couldn’t be more excited.” When questioned- “How is the Ojai music festival different from other festival and concerts,” he says the difference lies in the fact that he has been chosen to play the role of a curator. Notably, he is the first from the South-Asian American community to play the curator’s role at the Ojai Music Festival. He, however, declined to comment about racism in the music industry.
Interestingly, Iyer’s position at the intersection of two parallel traditions make him one of the most interesting curator of all times. As put in words by festival’s Artistic Director Thomas W. Morris, “Vijay believes a life in the arts is a life of service in imagining, building, and enacting community that transcends heritage, nation, and creed. The 2017 Festival reflects these beliefs in the range of collaborators joining us.”
Nevertheless, Iyer is going to stay busy this whole year for his list of performances is long and interesting. After Ojai, he can be heard at Moldejazz Festival in Norway; Festival International De Jazz de Montreal, Canada; Wigmore Hall, London; Fort Adams State Park, Newport. In 2018, he is also likely to show up at our very own Walt Disney Concert Hall, in downtown Los Angeles.
He dons several other feathers in his cap. When not teaching young talents at Harvard University, Iyer likes to spend time with family as he says, “my young daughter is also involved in several interesting activities”. His fond musical memories of childhood include growing up and playing piano with his sister. When he is not working on music, Iyer loves to hear Stevie Wonder and go back in time. As he concludes, “I am always on the lookout for something that excites me, is different, unique and catches my attention. My advice to beginners is, ‘follow your dreams and always play with heart, also keep experimenting with different types of music’.”
Iyer was named Downbeat Magazine’s Jazz Artist of the Year for 2012, 2015, and 2016, and he received a 2016 US Artists Fellowship, 2013 MacArthur Fellowship, a 2012 Doris Duke Performing Artist Award, and a 2011 Grammy nomination. Till date, he has released twenty-one albums and his forthcoming album is expected to be out by the end of 2017. The Ojai Music Festival is expected to draw thousands of curious and engaged music enthusiasts from across the country. As tickets remain in high demand, one can also experience through live and archived video streaming at OjaiFestival.org. The tickets, ranging from $140 to $860 for reserved seating, and lawn series passes start at $60, can be purchased online at OjaiFestival.org or by calling (805) 646-2053.

]]><![CDATA[Mayur – Aiming to Fill Stomachs and Hearts]]>Wed, 05 Apr 2017 23:54:42 GMThttp://www.indiajournal.com/interviews/mayur-aiming-to-fill-stomachs-and-hearts

BY NIMMI RAGHUNATHAN - At first everything she says seems improbable. She is the owner of Mayur restaurant, which means peacock – the parody of vanity in the human mind. And yet, there she sits across you like she doesn’t know the meaning of the word. Meet Anju Kapoor. Or as she will tell you, “I am Kapoor with the poor in it.” Not really, she runs a cozy establishment on prime property in Corona del Mar.

Tell her you have driven by several times to go to another eatery down the road, and she won’t say a word, just gently chastise you with raised eyebrows.
She speaks of many things, love and acceptance, learning and practicing, joy and sorrow…but little about food. Thirty-three years after she opened the doors to a business serving food, Kapoor still claims, she knows nothing about it. Every owner and chef will be sure to tell you on how food was their calling, how they dreamed of spices or how the warm hearth of a kitchen was their fulfillment, not Kapoor. Instead she talks relationships. So, there is Dharam Singh, who has handled her kitchen for...

all of the 33 years that Mayur has been open. Is there another Indian chef who has been in an Indian kitchen that long in SoCal? In an industry that is rife with poaching of staff, very doubtful. He came with the Kapoor family when she moved to the US from an affluent home in Delhi with her husband and two daughters, to cook for them. And he never left. Through her life ridden on some really choppy waters, he has been a steady presence in her life, ensuring that the customers are never secondary. What ‘Bhai’, as Kapoor calls him, sends out to the table is outstanding. The masalas are toned down without compromising on the Indianess, the ingredients are fresh and the American palate couldn’t be more pleased. Try the quinoa salad and if you have resisted that seed for texture or taste before, you won’t once you have sampled the Mayur version. Loaded with avocados, cranberries, peppers of every color, cilantro and more, it offers a variety of flavors and gets Indianized with a house dressing. It’s how this tamarind based dressing gets handled that’s important – with a light hand that serves to tantalize rather than overwhelm. The smoked chicken salad has greens with toasted sesame, walnuts and an interesting wasabi-coconut flavor and is great for lunch on a warm, sunny day.
Mayur’s specialty also is the Chilean sea bass and the lamb chop. The best restaurants rely on fresh produce for a reason. It can be served simply, with little processing or sauces to mask flavors. That’s what happens here. Those at the table polish off the fish that is flaky and buttery – not because of the fat laden ingredient that one tends to shy away from - but yogurt that adds to the moistness without getting gooey. The meaty lamb chop, when poked with a knife and held up on a fork has the desired red color that meat lovers look for. Served on a bed of basmati rice, it does not lose its Indian feel. Other than these dishes, another best-selling dish is the karahi lamb. Kapoor says they buy over 100lbs of the meat a month just for this item.
Vegetarians tend to gravitate to the bharta and palak paneer. The paneer is homemade and makes a difference to the dish. The restaurant serves the not so pervasive Parsee dhansaak with its Persian and Gujarati flavors.
Vegetarian or meat eater, the one thing that needs to be had is the ajwain paratha. When the carom seeds spill all over the plate, you are more than likely to go chasing after them so you can get every last bit of it. Accompanied by a truly minty lassi, it will satisfy the sensualist in you. Kapoor meanwhile is getting pampered by her staff who insist that she have her lunch too. She however would rather check on her guests. Her sentiments on relationships come to bear again – her employees have the air of a team, cheerful and joshing around while she makes sure that those around her relax and eat. She plies the table with dessert. Just one statement on that: don’t miss the gulab jamun or the pista kulfi. Just don’t. Another must try is the turmeric latte. The small glass is made from fresh turmeric and that makes all the difference. Do try this place out. Mayur, 2931 East Coast Hwy, Corona del Mar, CA 92625 949.675.6623, www.mayur-oc.com Take out and catering available

]]><![CDATA[Adoor Gopalakrishnan: Five Decades & Counting]]>Thu, 30 Mar 2017 18:34:11 GMThttp://www.indiajournal.com/interviews/adoor-gopalakrishnan-five-decades-counting

BY NEHA SARIN
“Once Again” will be screened at the Indian Film Festival of Los Angeles Thursday, April 6 at 9pm. Adoor Gopalakrishnan is attending and will present his film. Adoor Gopalakrishnan is a notable filmmaker who had a major role in revolutionizing Malayalam cinema during the 1970s.He has received many awards including...

the National award for best director five times; the Dada Phalke Award, India’s highest national honor for cinema (2005); India’s top civilian honor, Padma Vibhushan (2006); and lifetime achievement awards at the Cairo, Denver, New Jersey, Colombo and MAMI film festivals to name a few. In an exclusive interview with India Journal, he talks about his work, his craft and his latest film, Pinneyum (Once again). How different was the process of making your latest film ‘Pinneyum’ compared to your debut ‘Swayamvaram’ since you have been a filmmaker for 50 years.
A: Pinneyum is my first ever film in the digital format. Technology has changed, and it was all too soon. We knew the changes were coming, but it was not expected this soon. Notably the change was not something which was longed for artistic reasons. Its sudden and certain imposition was warranted primarily by commercial considerations, not that it did not bring along any advantages. For instance, filming under low light conditions has been made possible with the digital technology. Also, now we do not have to wait until the Negative film is processed and the rushes are printed in a processing laboratory usually situated in a city far from the location. The filmed scene or shot is instantly accessible for review or retake. The lighting equipment has become handy and portable which was not the case before. Otherwise the production front has remained more or less the same as before. The most important advancement has been on the recording and reproduction of sound. The optical track, unlike the optical film enjoyed only a secondary position in the pre-digital days. In my case the adaptation of new technology has been very smooth.
You have said that the story of “Pinneyum” is based on a real case that happened in Kerala many years ago. What made you return to this story now?
A: No, it was not my intention to retell the story of this man who faked his own death to claim insurance money. The incident happened about three-four decades ago. The person who disappeared after the incident has not turned up again to this day. No one knows whether he is alive or dead. This mystery about the man made me think about a situation in which whether one is dead or alive, it amounts to the same. In fact he dies a virtual death with his faking of it. As a fugitive his look is changed, his voice is changed, his name is changed, his identity is lost, he cannot have a relationship and he cannot appear in public as it would give him in to the law.
You are known for your meticulous planning, especially the detailed scripts. Give us an idea of how detailed your scripts are and how closely do you stay to the script while shooting? Please explain with reference to ‘Pinneyum.’
A: My scripts are written in detail, as detailed as possible because the script is my blue print of the film and basic material on which I build my film. It will have specified the time and place, characters, the dialogue and also significant sound effects. Then I go one step further with the preparation of a shooting script. It will have shot-wise description of the scene. Camera movements, character movements etc will be specified in this script. However, this does not mean that my film is a copy of my script. In fact I allow a certain organic growth to my film as it is shot, edited, music scored, sounds recorded etc. When a rough cut is done, I prepare a second script exclusively for sound which would lend my film another layer of being and meaning.
We’ve read that you never reveal the entire storyline to the actors. Don’t actors sometimes have a problem with that approach? And how do you manage to extract beautiful performances from them such as Dileep and Kavya’s in ‘Pinneyum’?
A: I do not want my actors develop the characters on their own. If each actor starts interpreting his /her role in his/her own way there will be a clash of concepts. Being the filmmaker who has also written the script, I wish to mould the characters in my own way. Being an actor myself, I can always help my actors do a role effectively even bringing in their bit of personality and demeanour. Mine is like the role of a composer who takes pains to get the best out of every artiste. Both Dileep and Kavya are very fine actors and they grasp the nuances very quickly and are very professional in their single minded devotion.
All your films have strong female characters including “Pinneyum.” Comment.
A: I have great respect and regard for women. May be, I have been influenced first by my mother and then later by my wife. Indian women are very special, I think. They remain in the background but they are the real fulcrum around which everything is revolving. Men are weak by nature. The woman is both the source and sustenance of life. In India we call them ‘Shakti’ meaning power.
How long did it take you to shoot ‘Pinneyum’? Has the process of filmmaking changed since the last film?
A: 23 days. As I plan everything in advance, a lot of time is saved. And I do not shoot anything extra which is a temptation offered by the new technology. As far as possible, I shoot the whole film in one schedule.
You have drawn from Malayalam literature for the stories of several of your films. What makes you turn to literature from time to time?
A: Out of my 12 features only four are adaptations of literary works – those too only short stories to be precise. There are times when no exciting idea occurs to you for a considerably long time. Then I recall some interesting as well as challenging stories I had read a while ago. I re-read them to find why I had liked them in the first place. The answer is my film. Short stories provide you enough space to develop them on your own. While a short story is about a single, striking idea, the film you base on it should be able to make the audience experience one hundred things at the same time. In fact I virtually own those stories and go about working on them as if they were original ideas that had occurred to me. Have never felt obliged to make carbon copies of the original.
Your films and characters have a cultural/regional authenticity, and yet they appeal to audiences the world- over. What is your secret?
A: It is the cultural and regional specificity and authenticity of the film that makes it worthwhile and attractive to the audiences around the world.
Even though your films are dramas, your style is so simple and subtle. Has that been a conscious choice?
A: I wish to take the audience directly into the film, not to scare them away. By maintaining a simple and accessible exterior my intention is to take them through the complexity of experiences hidden underneath otherwise unknown to them.
What films and filmmakers influenced you in your formative years? And which current filmmakers’ work do you like? Tell us about both Indian and American directors.
A: I have studied cinema academically and as a student of cinema every worthwhile filmmaker in the world has inspired and enthused me through their marvellous skills of story- telling. While there are so many films and filmmakers I like, I do not relish all of them alike. As for the Indian filmmakers I love and respect Ray, Ghatak and Sen.
You made your last film nine years back. What were your pursuits during the long gap between the two films?
A: The gap this time has been of eight years. Between films I live a normal life, like everybody else, reading,writing, talking, sleeping, dreaming etc. I even forget that I am a professional filmmaker. This of course helps me reinvent myself every time I make a new film.

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