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...
“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.
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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