Sent the script to many directors but no one responded-Entertainment News, Firstpost

Kashyap reveals how he came on board to direct upcoming time travel thriller Dobaaraa, based on the script of Spanish film Mirage, and more in this exclusive interview with Firstpost.

“Vijay Maurya came to sell me a credit card.” You will find many such revelations of Anurag Kashyap if you dig his interviews from the past. This revelation was reserved for an exclusive interview with Firstpost. For someone who begins their journey in Hindi cinema with a filmmaker like Ram Gopal Varma, the peak Ram Gopal Varma, almost infallible at one point, the faith to disturb is completely guaranteed. Kashyap, approaching three decades in Mumbai, has created a palette of unconventional cinema that is hard to ignore. His fearless pronouncements of calling a spade a spade are just as explosive as his movies. He may suffer the repercussions but boldly chooses not to suffer in silence.

He is currently filming his next film as a director entitled Dobaara. He finds Taapsee Pannu after the volcano Manmarziyaan in 2018. This time it’s the kind of time travel that is rarely attempted in India, of course aesthetically. In an exclusive interview with Firstpost, Kashyap opens up about seeking inspiration for the first time (she was inspired by the screenplay of the Spanish film Mirage), choosing theater actors and Shekhar Kapur bandit queenand also responds to the ongoing debate on social media about the failure and downfall of late Hindi films.

How did Dobaaraa’s journey begin?

Taapsee contacted me. She sent me a script by Oriol Paulo and asked me to suggest a director. Oriol Paulo I know. He makes genre films so I started looking for directors who make thrillers. Nobody answered. Then one day, I went to the shooting of Saand Ki Ankh. Taapsee said there was one thing I couldn’t do, find a director for her. I told him that I had sent the script to many directors but no one answered. She said to me: “It’s such a beautiful scenario, there is a parallel universe. It took me two weeks to read and understand it. Saand Ki Ankh was being shot in Meerut and I was on my way to Delhi airport. I started reading the script, I was reading in the living room. I read the whole script in 3-4 hours, had a drink, called Taapsee and said: “Main kar raha hoon.” That’s how it started, I asked Nihit Bhave to write it. The original has not been made until then. There was only the script. I called him and he read the script. We were working on Muffled then, and Nihit said he would try and wrote a draft. If you watch the movie, it’s very different. Nihit is from middle-class Ahmedabad, so he brought his own experiences into the script. So it became very different, more human. This is how Nihit is.

Taapsee gave one of the best performances of his career to Manmarziyaan, he was such an explosive character. What do you have to say about his role in Dobaaraa?

They are two different people but the same people in two different universes. It’s quite complicated to deliver this kind of performance. You will get to know yourself slowly and gradually. You will tell how the performance is. For me, my goal is always for the actors to stick to the characters as required. More than a good or a bad performance, I wonder if it’s believable and real or not. The audience decides whether the performance breaks through or not.

Have you seen so many films in so many languages ​​that you never wanted to remake one of them in your own style?

I never wanted to do a remake. The reason Dobaara happened because there was only a script, not a movie. You can interpret the script in your own way. In this interpretation you will see the difference between this character and the other.

The one word people often use for your movie is Noir. What does that mean exactly?

In a good way if you go, the movies of the night. Literally, “Andheri raaton mein jo hota hai.” That’s what black means (smile).

It’s always great to see filmmakers put their own spin on films that inspired them or that they loved. Subhash Ghai did it with Karz, Mansoor Khan did it with Jo Jeeta Wahi Sikandar. Even you did it with Gangs of Wasseypur because no one can say it’s similar to City of God, you did it in such a way that it became your film.

No but Wasseypur is an original story. Every time I make a film, I have to find a relevance to it. city ​​of god came to me in a definitive form. If you see Hellish Affairsit is a three-part film, directed by Martin Scorsese The dead come out of it as a singular film and watch what magic it has done there. The movie is the same but different, and it got an Oscar for it. I say the world is over. Our cinema Dobaara is based on someone else’s script. It’s based on the script, not the movie. Despite this, the film travels to different film festivals because remakes usually don’t go. It is therefore a sign of strength for us.

The only actor you’ve worked with multiple times is Aditya Srivastava, who we all know as CID Inspector Abhijeet. You both worked at Satya Paanch Gulaal Black Friday. How did you discover it?

bandit queen. And scene. All the actors with whom I worked at the start, I discovered them either on stage or in bandit queen. Manoj Bajpayee bandit queenAditya Srivastava bandit queenSaurabh Shukla bandit queen, Kay Kay Menon theatre, Makarand Deshpande stage. I worked with everyone. Vijay Maurya came to sell me a credit card before becoming an actor and then he became a friend (smiles). I have known him forever. Half the world don’t know I used to go to Vijay Maurya for the Bambaiya Your. People found out after Ravine BoyI’ve been using it for this for 20 years.

Another great choice you made as a filmmaker was casting Abhimanyu Singh in Gulaal as Ransa. How did you come up with this character and think about this actor for the role?

Ransa’s character was written a long time ago, in 2001. A different actor was supposed to play the role. It was Rahul Singh, the actor who played the Daaku in Tar. When we started the movie, he didn’t look like a student and I was looking for a new actor, and I was also doing a play with Abhimanyu Singh. So I knew him and his acting potential. It was not a very pleasant process and we never worked together afterwards. Everyone wants to be a hero inside, whether I am Amitabh Bachchan, this and that. And because of that, some people are unable to become the characters. He’s a very good actor, but he wants to be something else and he gets something else. So it became very difficult to take that Ransa character away from him. But now I see how his career is developing, he’s a much more responsible actor now. He was young then, he had a certain josh, never listened to anyone. I see him doing a good job in a lot of things so it feels good.

You said in an interview that our films aren’t rooted and that’s why they don’t do well. How would you define the word “rooted”?

Rooted means you are making a film of your own background. Your mythology belongs to you. When you see southern films, when you watch RRR, the mythological references are ours. Our films are not ours, they want to be something else.

How would Anurag Kashyap define commercial, masala and niche film?

Every time I make a movie, it’s a masala movie. A niche movie is something that is only for a small segment of the audience, something that only those who understand, a movie like That girl in the yellow boots. Raman Raghav was a genre film. Otherwise I consider all my films as masala films.

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