I don't know what spirituality is, except that when I accumulate a lot of garbage in my head, I need to shed it and be at peace with myself. I retreat to a quiet corner and am alone with myself for half an hour. Today, any job is stressful. At times, despite doing our best, bad things happen to us. I could get stressed due to my work, my wife...though she also unwinds me! I could get stressed if someone bombs my ad campaign or when nice things aren't said about a movie i have made. I learn from all of it. How you cope with stress is what matters.
I have less tolerance than most people and therefore need to introspect more often. And that's when you realise that in the end, nothing matters. Being a movie buff, I destress myself faster when I watch films or cricket. In fact, it's important to unlearn things. I believe in a supreme power which guides our destiny and who is above our control. I remember I once met a friend of mine in Delhi and she told me that on a particular day, a particular thing would happen to me. And believe me, it did. That's when i experienced God.
I am not a ritualistic person and don't go to temples or wear amulets. I remember the last time I went to Tirupati was some four-five years back and I still remember it was the special vada there that drew me. I don't believe in rituals or praying endlessly for good things to happen.
I believe that if you do good, good things should happen to you and things will work out. The truth will always prevail. For example, I believe if i have been paid for a campaign, I should do the work to the best of my ability and if I haven't, I explain to my clients that this hasn't been up to my satisfaction. And they appreciate it. Truth is the biggest con job. The solutions to most things lie within yourself.
PS: I AGREE...
Thursday, June 19, 2008
Sunday, June 15, 2008
The Noir
Many of Bollywood’s recent releases - and forthcoming ones - are inspired by the “noir” or “black films” genre popular in Hollywood in 1940-50. Gargi Gupta talks to some of the young directors on what is driving such cinema.
Thriller” is a much-abused term in Bollywood — a blanket genre used to describe films as varying in texture, mood and quality as Bhoot and Bhool Bhullaiya. But there’s something about recent thrillers like Johnny Gaddar and Manorama Six Feet Under that’s different.
Gritty, fast-paced, morally ambivalent and with strong characters rather than stars driving the plot, these aren’t simply thrillers but local versions of “film noir” (literally black film), a genre of “stylish crime dramas… that emphasise moral ambiguity and sexual motivation” (Wikipedia definition) that refers to the Hollywood films of the 1940s-’50s like Double Indemnity and The Postman Always Rings Twice.
And it isn’t just the critics who’re making the connection; most of the directors working in this genre are very consciously placing themselves within it. Director Navdeep Singh spoke to the media about Manorama being a “homage” to noir; and depicted protagonist Satyaveer watching Polanski’s classic Chinatown (incidentally, a film he was supposed to be “inspired” by). “I don’t think Johnny Gaddaar can be called a pure noir film,” says director Shriram Raghavan, adding, however, that, “It’s a term that helps us during the shoot. ‘Let’s do this scene in a noir fashion…’ Which means odd angles, contrast lighting, shadows, et cetera.”
You can see traces of the noir tone in many recent films — Ek Haseena Thi, Anthony Kaun Hai?, Being Cyrus, Ek Chalis Ki Last Local. In fact, Anurag Kashyap’s existential drama No Smoking too has traces of noir. It’s a trend that Hansal Mehta, whose Dil Pe Mat Le Yaar (2000) was an early sample of the genre in Bollywood, traces back to Sudhir Mishra’s 1996 film, Is Raat Ki Subah Nahin, and even further back to Vijay Anand.
“But if it’s film noir, it does not follow the conventions developed by the Americans or the French. The femme fatale figure, found in much of film noir, is absent; rather, our
Indian films explore the morality, political, social, economic, within our society and what happens when, out of greed or lust or any other motivation, the protagonist falls foul of it. In that sense, it’s a reflection of social reality rather than an aestheticised response.”
There are more coming up: Strangers, directed by debutant Anand L Rai, due for release next month, has two strangers meeting on a train and deciding to kill each other’s wives. Then, there’s Amir by another debutant director, Raj Kumar Gupta, which is the story of a young Muslim professional who flies into Mumbai and is caught up in an inexplicable plot, with only a cell phone, through which a faceless, nameless voice gives instructions, to help him through the maze.
Woodstock Villa, Hansal Mehta’s next, coming up for release early next year, is another of these neo noir films about the disappearance of a beautiful young women, the wife of a businessman, and what follows. Kashyap, who made Panch in 2003, on five angst-ridden urban youngsters who fall into crime (unreleased, since the censor made strident objections to it), says he’s working on another script called Bombay Velvet on the Bombay of the 1960s and “how it turned into a metro”.
Ashwini Malik, who won much acclaim with his 2002 film, Clever and Lonely, is working on Kill Chhabra, another of these dark thrillers with Onir and Sanjay Suri producing the film. And then, there’s Raghavan’s second in the Johnny series, of which all he’ll reveal now is the title, Johny Tokyo.
This is quite inexplicable since Manorama, JG or any of the other films that came before it did not exactly set the box office on fire. Far from it. Hiren Gada of Shemaroo Films, which produced Manorama, says that the film had a short two-week run at the multiplexes but he hopes to make up for it with the television and video rights. “It’s an intelligent film and it works on many levels.”
Mehta has an insight: “Today, a producer doesn’t really have to rely on the theatrical response to a film. He can make his money from all the other avenues for projection that new technologies are throwing up almost every day.
But the one important thing here, and this is something young filmmakers have to learn, is how to budget it right. I made Chhal (2002) on only Rs 1 crore. If you keep costs down, the producer has more of a chance to get back a part of the money, and then he will be more receptive to experimental ideas that you may have.”
Clearly, it is a reasoning that has found takers with many production companies— Spotboy, the UTV production house that concentrates on small-budget experimental films: Sanjay and Onir’s Fore Front Films, White Feather Films and many others. And note how they’re all putting their money on first-time directors. Clearly, it is the greenhorns today in the industry who’ve the right ideas.
Courtesy: www. nachgaana.com
Thriller” is a much-abused term in Bollywood — a blanket genre used to describe films as varying in texture, mood and quality as Bhoot and Bhool Bhullaiya. But there’s something about recent thrillers like Johnny Gaddar and Manorama Six Feet Under that’s different.
Gritty, fast-paced, morally ambivalent and with strong characters rather than stars driving the plot, these aren’t simply thrillers but local versions of “film noir” (literally black film), a genre of “stylish crime dramas… that emphasise moral ambiguity and sexual motivation” (Wikipedia definition) that refers to the Hollywood films of the 1940s-’50s like Double Indemnity and The Postman Always Rings Twice.
And it isn’t just the critics who’re making the connection; most of the directors working in this genre are very consciously placing themselves within it. Director Navdeep Singh spoke to the media about Manorama being a “homage” to noir; and depicted protagonist Satyaveer watching Polanski’s classic Chinatown (incidentally, a film he was supposed to be “inspired” by). “I don’t think Johnny Gaddaar can be called a pure noir film,” says director Shriram Raghavan, adding, however, that, “It’s a term that helps us during the shoot. ‘Let’s do this scene in a noir fashion…’ Which means odd angles, contrast lighting, shadows, et cetera.”
You can see traces of the noir tone in many recent films — Ek Haseena Thi, Anthony Kaun Hai?, Being Cyrus, Ek Chalis Ki Last Local. In fact, Anurag Kashyap’s existential drama No Smoking too has traces of noir. It’s a trend that Hansal Mehta, whose Dil Pe Mat Le Yaar (2000) was an early sample of the genre in Bollywood, traces back to Sudhir Mishra’s 1996 film, Is Raat Ki Subah Nahin, and even further back to Vijay Anand.
“But if it’s film noir, it does not follow the conventions developed by the Americans or the French. The femme fatale figure, found in much of film noir, is absent; rather, our
Indian films explore the morality, political, social, economic, within our society and what happens when, out of greed or lust or any other motivation, the protagonist falls foul of it. In that sense, it’s a reflection of social reality rather than an aestheticised response.”
There are more coming up: Strangers, directed by debutant Anand L Rai, due for release next month, has two strangers meeting on a train and deciding to kill each other’s wives. Then, there’s Amir by another debutant director, Raj Kumar Gupta, which is the story of a young Muslim professional who flies into Mumbai and is caught up in an inexplicable plot, with only a cell phone, through which a faceless, nameless voice gives instructions, to help him through the maze.
Woodstock Villa, Hansal Mehta’s next, coming up for release early next year, is another of these neo noir films about the disappearance of a beautiful young women, the wife of a businessman, and what follows. Kashyap, who made Panch in 2003, on five angst-ridden urban youngsters who fall into crime (unreleased, since the censor made strident objections to it), says he’s working on another script called Bombay Velvet on the Bombay of the 1960s and “how it turned into a metro”.
Ashwini Malik, who won much acclaim with his 2002 film, Clever and Lonely, is working on Kill Chhabra, another of these dark thrillers with Onir and Sanjay Suri producing the film. And then, there’s Raghavan’s second in the Johnny series, of which all he’ll reveal now is the title, Johny Tokyo.
This is quite inexplicable since Manorama, JG or any of the other films that came before it did not exactly set the box office on fire. Far from it. Hiren Gada of Shemaroo Films, which produced Manorama, says that the film had a short two-week run at the multiplexes but he hopes to make up for it with the television and video rights. “It’s an intelligent film and it works on many levels.”
Mehta has an insight: “Today, a producer doesn’t really have to rely on the theatrical response to a film. He can make his money from all the other avenues for projection that new technologies are throwing up almost every day.
But the one important thing here, and this is something young filmmakers have to learn, is how to budget it right. I made Chhal (2002) on only Rs 1 crore. If you keep costs down, the producer has more of a chance to get back a part of the money, and then he will be more receptive to experimental ideas that you may have.”
Clearly, it is a reasoning that has found takers with many production companies— Spotboy, the UTV production house that concentrates on small-budget experimental films: Sanjay and Onir’s Fore Front Films, White Feather Films and many others. And note how they’re all putting their money on first-time directors. Clearly, it is the greenhorns today in the industry who’ve the right ideas.
Courtesy: www. nachgaana.com
Thursday, June 05, 2008
Procession
It's a procession of clouds
led by the furious winds.
Carrying the blazing torch of the setting sun rays,
the march is orchestrated by the evening.
And watched on by a simple soul
from the stadium on the mountain edge,
waiting for this revolution
to lead into a silent night.
led by the furious winds.
Carrying the blazing torch of the setting sun rays,
the march is orchestrated by the evening.
And watched on by a simple soul
from the stadium on the mountain edge,
waiting for this revolution
to lead into a silent night.
Interesting
Here's an excerpt from Ram Gopal Verma's blog
Question to Ram Gopal Varma: In one shot in Bhoot after the car leaves the basement the shot changes with the sound of a dolby click.
RGV's Answer: That was not a dolby click. It is the igniter sound which Urmila uses on the gas stove. Anyway as long as you felt the impact it does not matter. The psychology of that shot is that the audience would be used to the fact that the shot will be cut after the car left the frame. But the fact that it lingers on automatically puts them into a heightened tension thereby making them anticipate something terrible will happen and that’s why even an ordinary click sound will scare them. Similarly one more example of this is when Urmila comes down into the hall to go into the kitchen for a glass of water. In a wide-angle shot I show the audience that there is no one in the living room. If the camera follows behind her they will be half expecting something to jump on her from of the frame. But the fact they can see the whole room their eyes will be darting all over to see if anyone is hiding somewhere. Meanwhile Urmila takes her time to drink water and comes back. As she goes up the stairs I cut to top angle where the audience can see behind her.
Now as the audience can’t see anything in the back and from Urmila’s expression they can see that there is nothing in the front, they slowly relax as she comes close to the camera into out focus distance thereby expecting the shot to be cut. But as she crosses the camera we reveal Manjeet under the stairs making them jump out of the seat.
Question to Ram Gopal Varma: In one shot in Bhoot after the car leaves the basement the shot changes with the sound of a dolby click.
RGV's Answer: That was not a dolby click. It is the igniter sound which Urmila uses on the gas stove. Anyway as long as you felt the impact it does not matter. The psychology of that shot is that the audience would be used to the fact that the shot will be cut after the car left the frame. But the fact that it lingers on automatically puts them into a heightened tension thereby making them anticipate something terrible will happen and that’s why even an ordinary click sound will scare them. Similarly one more example of this is when Urmila comes down into the hall to go into the kitchen for a glass of water. In a wide-angle shot I show the audience that there is no one in the living room. If the camera follows behind her they will be half expecting something to jump on her from of the frame. But the fact they can see the whole room their eyes will be darting all over to see if anyone is hiding somewhere. Meanwhile Urmila takes her time to drink water and comes back. As she goes up the stairs I cut to top angle where the audience can see behind her.
Now as the audience can’t see anything in the back and from Urmila’s expression they can see that there is nothing in the front, they slowly relax as she comes close to the camera into out focus distance thereby expecting the shot to be cut. But as she crosses the camera we reveal Manjeet under the stairs making them jump out of the seat.
Tuesday, June 03, 2008
Strange
How does it feel to be haunted by the constant memory of something you really felt amazing when you were experiencing it?
Some people don't understand the importance of a circumstance. My state of mind. There's a bigger plan. It's all happening for a reason. I need to take my lessons and move on to teh next one. But why do I have to explain? I don't want to do what is right. I want to do what I want to do.
Reckless? Yes. Careless? Yes. Carefree. Yes? I am all these but so what? Could be dangerous, risky and even harmful. But why should I tread the safe path all the time?
Some people don't understand the importance of a circumstance. My state of mind. There's a bigger plan. It's all happening for a reason. I need to take my lessons and move on to teh next one. But why do I have to explain? I don't want to do what is right. I want to do what I want to do.
Reckless? Yes. Careless? Yes. Carefree. Yes? I am all these but so what? Could be dangerous, risky and even harmful. But why should I tread the safe path all the time?
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