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Aniruddha Roy Chowdhury: In advertising, I learned to tell stories concisely. This experience was like a school for me; it taught me the art of storytelling, the camera work, everything. I didn’t attend a film school, so through my work in advertising, I understood filmmaking. This background was essential for me to transition into feature filmmaking.
SM: How have your experiences been in advertising influenced your filmmaking style?
Chowdhury: Advertising demands a high level of detail and discipline. It’s about telling a story quickly and effectively. These skills have been invaluable in my transition to long-form filmmaking.
SM: Pink was a legendary film in terms of addressing concern. Can you share the creative process behind planning its societal impact?
Chowdhury: I originally planned to make a Bengali film around 2007-2008. However, my producer (Shoojit Sircar) suggested we turn it into a Hindi film because of its broader appeal. ‘Pink’ was more like a propaganda film. The inspiration came from my personal experiences and observations, especially near Jadavpur University (in Kolkata), where I saw young girls facing discrimination and harsh remarks.
I felt the need to address these issues through my art, to protect and protest. This film became a collaborative effort, with everyone involved passionately committed to making a difference. It was our way of challenging societal norms, emphasising that ‘no means no’, especially coming from Mr Bachchan’s voice. We were thrilled to see it resonate with audiences globally, effectively conveying our message.
SM: How does creating films for OTT platforms differ from traditional theatrical releases?
Chowdhury: When I made ‘Pink,’ OTT wasn’t as prominent as it is now. While the creative process remains the same, OTT allows us to reach a global audience. However, whether for OTT or theatres, my approach to storytelling remains consistent. A film is a film is a film.
We are absolutely dedicated to the process of making a film. The way we want to tell a story, it’s not about long shots and close shots. If you watch the film on a big screen, it will not look like an OTT film, it will look like a big screen. I have seen so many OTT movies which look big. It’s all about telling a story with different things. So, to me, there is no difference.
SM: How do you choose themes for your movies, particularly those addressing social issues?
Chowdhury: In my world, stories arise from everywhere. Events, emotions, and situations that disturb, anger, move, or create empathy in me. It’s about being honest and believing in what I’m creating.
When I make a film, it’s crucial to truly understand and connect with the characters. If not, it feels fake. Storytelling, to me, is like an innate urge, similar to wanting to hold a loved one’s hand or share a hug. Stories get marinated in my mind, and I become restless to share them. It’s an organic process. Sometimes a story hits me, and I just have to tell it. It’s like an emotional outburst, a need to share these narratives with my audience and impact them, just as they impact me.
SM: How different was it working with a seasoned actor like Pankaj Tripathi and a newcomer like Sanjana Sanghi in “Kadak Singh”?
Chowdhury: I met Pankaj and we clicked instantly, discussing life and its many facets. He loved the script, and that connection was palpable. With Sanjana, it was different. She’s young, a fantastic actor. Our first interaction was over a Zoom call. Later, we met for Bengali food, and our bond deepened. We shared life stories, not just film narratives.
This is crucial in filmmaking – building trust and understanding. It’s the same with my crew; we all sync up. With Pankaj and the others, it was effortless. We all trusted each other, united in our goal to tell a compelling story to the audience.
SM: You worked with a Malayalam actor before, Padmapriya? How was working with Parvathy in “Kadak Singh”? Also, it was not a “meaty” character for her in the movie. How did you convince the actor who’s known for playing the protagonist in her films?
Chowdhury: Parvathy was fantastic, truly brilliant. After seeing her in ‘Take Off,’ I knew we had to collaborate. Our project had her in a smaller role, but it was impactful. The depth of her character mattered more than screen time. We connected over Zoom, and she immediately committed to the role.
Our daily discussions and shared understanding enriched the project. Both Parvathy and the other actors embraced their roles beautifully. It’s not just about the length of the role but its substance. I’m thrilled with the global appreciation they’re receiving. Working with them was a journey of mutual trust and understanding, making the whole experience rewarding.
SM: How do you approach directing Hindi films compared to Bengali films?
Chowdhury: In filmmaking, it’s all about the language of cinema, no matter if it’s Bengali, Hindi, or English. The key is understanding the script’s essence and the nuances in dialogue. Once you grasp this, transitioning between languages isn’t a huge deal. The whole process, from planning to production, remains consistent across languages.
The technical aspects are the same, irrespective of the language. Understanding the script and the nuances of the language is crucial, but fundamentally, the process of filmmaking remains constant.
SM: Can you discuss any upcoming projects or themes you’re excited to explore?
Chowdhury: We’re currently developing several projects. I’m keen on exploring dynamic relationships and delving into an action-packed war story. Meanwhile, a Bengali film about intricate relationships is in the works, possibly within the next two to three months. My inspiration often comes from everyday stories and real-life incidents in India, a land rich in narratives. If a particular story resonates with me, I’m compelled to turn it into a film. At the moment, I’m working on two Bengali films, and there are a few more in the pipeline. Let’s see how they unfold.
SM: If you could make a time travel movie about any historical event, which would it be?
Chowdhury: I would choose the 1971 Bangladesh war. It had a profound impact on me as a child. My father was actively involved in the movement, and I have many stories from that time that I’d like to tell.
SM: Thank you for sharing your insights, Mr. Chowdhury.
Chowdhury: It was my pleasure. Thank you.
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Published: 25 Dec 2023, 07:26 PM IST
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