I am the master of my own life (Interview with Amal Neerad as part of my project on 26-01-08)
Amal Neerad made an astonishing mark in Malayalam cinema with his directorial debut ‘Big B’ starring Mammootty in 2007.He is a graduate in cinematography from Satyajith Ray Film Institute, Calcutta. He got National award for cinematography in short feature section with his diploma film ‘Meena Jha’ in 2002.He also did his studies at the Berlin Film School. He got entry to Factory, a leading film production house of the country as a cameraman for ‘James’ in 2004.He also worked in ‘Darna Zaroori Hai’ and ‘Shiva’.In this interview, Amal Neerad speaks about movies and his life.
Q. How did you make the decision to go for the movie world?I liked watching cinema from my childhood and it was my main field of interest. From high school time onwards, I wished to join the Film Institute after knowing it was the most appropriate way and hearing about persons passing out from there. I did my degree course for entering the Film Institute as it was the required eligibility. I had freedom of my own and my parents supported me in all ways.
Q. How was your film viewing experience from childhood? Did you realize any change in your attitude towards film viewing?I have heard that Satyajith Ray saw ‘The Bicycle Thief’ in Europe and it made the change in him. I may not be a world renowned director, that I haven’t felt any major change in film viewing. I see movies that entertain me as a normal viewer. If I watch a film as a cinematographer, I may watch its camera works and I think it is not right.
I went to watch movies during school days by bunking classes. I used to see Malayalam, Tamil, Hindi, English and Telugu (dubbed to Malayalam) films from theatres in Ernakulam. I watched world cinema from video cassette libraries and also from Cochin Film Society. While I was a student at the Film Institute, I was one among the few who went outside to watch commercial films.
The main point of my film viewing was that I should get entertained. Otherwise, I will get away from it. Let me make myself clear. I went to watch ‘Om Shanti Om’ knowing that it was made from Subhash Ghai’s ‘Karz’. Where I get excited is that during climax when it turns to ‘Madhumati’ of Rithik Ghatak. 99% of viewers applausing it doesn’t know it is ‘Madhumati’s climax. More than knowing that it is a Farah Khan film or Rithik Ghatak’s script, the entertainment factor excites me.
Q. You applied for direction at the Satyajith Ray Film Institute and changed your option to cinematography. How did that happen?In my joining year, there was a change in the eligibility criteria that, candidates other than science graduates can opt for cinematography. My ambition was to become a director and make films. So I gave my choice for direction. I used to take still photographs during my college days and compete in youth festival photography competitions. My show reel was an album of almost 60 photographs and it was a hit among candidates who came for orientation.
Also, during the interview, the board members asked about my stills and found my aptitude in cinematography. The said they were impressed with my stills. They asked me what would I prefer if I choose my option again. I got ten minutes to think about it. I knew I would surely get in if I opted cinematography. I felt it was good to have technical knowledge and changed my option to cinematography. Thus I got into it and I am very happy about it.
Q. You got entry to the Berlin Film School. How was your experience there with foreign students?I got scholarship from Satyajith Ray Film Institute to join Berlin Film School. It was an experience to study in a European film institute. I got to see many good films from there. I got excited by seeing a vast collection of Asian, European or other world films in a library there which could be bought or taken on rent. That situation was not present here at that time. Also I felt much cultural difference like in case of watching a performance in silence or giving a standing ovation which may not be possible here.
Q. Having much academic background, did you face hardships in entering the Malayalam film industry?
Most of the students from Calcutta or Pune institute went to Bombay. My friend from Orissa and I used to fight against Bombay in many ways. Many would make certain statements which we would oppose heavily. We decided that we would not move to Bombay. I came to Kerala and was here from 2002 to 2004. At that period I shot almost 30 advertisements due to which I was not harmed financially. But my wish to do a movie was not fulfilled. Many were impressed with my show reel and diploma films, but I didn’t get a chance here in Malayalam.
Q. How did you get invitation from the production house Factory headed by Ramgopal Varma?Unexpectedly, I got a call from Rohit Jugraj who had got an offer to make a movie for Factory. Rohit had seen my diploma film and had decided that he would work with its cameraman. He enquired about me at the institute and got my number. He asked for my show reel to show Ramgopal Varma. I sent my show reel which I had shown here to many and on the second day, they sent my flight ticket. That was my entry to Factory as cinematographer.
Q. How was your life in Factory, a leading production house of the nation?The media here connected me much to Factory. I worked with Factory just like Marikar Films or any other production house. I worked for project after project and got remuneration like a freelancer. It was a very good experience for me in all ways.
A film was announced by Ramgopal Varma with the hero of film ‘James’ and me as director. I had waited long for making a movie. I wished to do my independent film which I doubted would not be possible with Factory. Even now, I keep a good relationship with Ramgopal Varma. I can message him and meet him or take part in his evening sessions.
Q. Your first work in Malayalam as cameraman was ‘Black’. How was that working experience?It was my first work in Malayalam. Director Ranjith and producer Lal had very friendly behaviour to me and working in that atmosphere was a good feeling.
Q. Your first directorial venture ‘Big B’ had a young crew of average age of 28 and most of them were fresh. How was working with that team?While I was working with Ramgopal Varma, he knew what all he wanted, whether it was framing or camera angle. I was an instrument helping realize his vision. I believe that cinema is a director’s art. I had notions of some things in my film like framing, lighting pattern, costumes, art direction or make up. I wanted those who stand with my vision, who understand and communicate. Many of them were familiar to me. Samir Thahir (cameraman of Big B) was assisting me for years. I knew Vivek Harshan (editor of Big B) and had seen his works. I felt new people would do it rightly. Whether they are fresh or old is not a real matter.
Q. Bilal, the protagonist of ‘Big B’ had a single expression throughout the movie. What about that characteristic feature?Bilal is not a person who speaks or cries loud. The way a person speaks or behaves may not be similar to other. And it is just not like that single expression. The expression when Bilal arrives first is not when he stands for funeral and looks other characters. Personally, I have felt that expressions as brilliant performance of Mammootty. In the next scene, Bilal gets angry with Murukan. He gets into memories where he smiles. In the Christmas lunch sequence he gets emotionally overwhelmed. Sometimes he tells some funny one liners. Normally, it is not that single expression. I have watched other films with just single expression. This was not like that.
Q. How was watching your film with audience in theatre where you used to watch movies from childhood?I watched my movie’s first day first show at Ernakulam Saritha theatre with the audience. First day audience, especially the young were loud, applauding or getting excited. It was a very much satisfying experience.
Q. The tagline of ‘Big B’ was ‘heroes never choose destiny, destiny chooses them’. Has this line got any relation with you at personal level?I have great belief in that line. Personally, I like it very much and was keeping it for years to be tagline. My merit is very important for me. I don’t believe in fate. There may not be anyone agreeing to this. I am the master of my own life. What all happened in my life was decided by me. There are certain things which cannot be decided by us like accidents or natural things. The kind of films I do or not is my decision. I believe that these decisions lead my life and I like that kind of heroes.
Q. As a film maker, do you wish to propagate message through your films?I am a cent percent commercial film maker. My film starts with a dedication ‘for our mothers who brought up us’. This was my main interest in doing ‘Big B’. A bachelor mother who brings up four boys who are from different culture, religion and not blood related. At the climax of the movie, one of them tells to the villain that their mother had brought them up as sensible persons and what he did not have was a mother like that. In the beginning of the movie, this mother sees a kid trying to steal bread. At the end of the movie, Bilal invites him to their home. I have seen ‘Four Brothers’, ‘Three Brothers’ and ‘The Sons of Katie Elder’. These elements are not present in those movies. I tried to portray that emotion.
Those who have seen the movie could decide for themselves as the movie had a message to convey or not or just get entertained. I don’t wish to pass a social message with my film. If I have to give message, I can send sms. For me, the most interesting message seen in Malayalam film is the sentence written at the end of Padmarajan’s ‘Kallan Pavithran’, which is funny and has sense of humour.
As I am a human being living in the society, there are certain things that I will not show in my films. For example, in many films, I have seen characters who rapes after getting drunk. I can’t understand the mental situation to rape after getting drunk. Like this there are certain ‘do nots’ which I will not include in my films.
Q. Your diploma film ‘Meena Jha’ got national award in short feature section in 2002.How about winning the award?I got National award for cinematography and its director also got award in short feature section. I haven’t gone to receive my National award. I don’t want any awards. I don’t do films for any awards in this country. I do commercial films. I would like to lend words from a famous fashion designer. “I am not an artist. My profession is to make dresses for you. While shopping, you may sometimes like my dress and buy it.I don’t expect you will wear my dress lifelong. When you feel bored, you will throw it away with that same excitement you bought it.”
Q. ‘Big B’ portrayed a dark side of Cochin. You were born and brought up in this city and don’t you feel there is a good side of Cochin?I tried to portray a good side of Cochin which may have gone unnoticed. The mother character Mary John Kurisinkal, whose mother is French could be seen only in Cochin in Kerala. A native of Fort Cochin can live at any side of the world irrespective of his education. That is made by the specialty of history and culture of this place. I have tried to show that universal characteristic in the film. I wish to tell about good side of Cochin and will do it.
Q. In an Orkut community of your fans, many wish to tell stories to you and seek a chance. How do you receive these people?I make a film when an emotion or idea strikes exciting for me. I waited and strained for 16 years to make films. I have my interests or items with me to make films for my lifetime. They may be a borrowed thought, idea or a news bit. It has to get an epic structure with characters or incidents to get into a film. I don’t want stories from any of these people. I have heard stories from lot of people, but an instant feeling may not come to me. What I have to tell them is, let them try to come up with their cinema. Let them work out their stories into their films.
Q. What do you have felt about theatres and its projection setup existing in Kerala?In childhood, going to theatres was an exciting experience. Now more than that, situations like bad quality of projection, sound, sometimes bad smell or other situations are present in many theatres in Kerala. We are all experiencing it. We all believe that this will improve soon. In the coming days, multiplexes may come in Kerala.
Q. These days many opinions throw light to the change of Tamil films in content or technical quality. What have you felt about that change?
During my school and college days I used to see Tamil and Telugu films. I got excited seeing Ramgopal Varma’s Telugu film ‘Shiva’ and when I told about it to those around me, they used to tease me. Before 20 years Tamil, Telugu or Hindi films were viewed by us with contempt. But now we have a reversed situation. We can boast of our films, but real truth of today’s situation is known to us.
A major question we have to ask is whether Malayalees like change? Here the people have opposed changes strongly in many things and the case of computers is just one of them. We are ready to see young one’s works in Tamil or Hindi. We should also open our eyes to see or show concern to the young people here. Then the change is possible. Or they may leave for other languages and language is not a problem for films. We know many people like that.
Another reality we have to face is that the upcoming generation is growing up watching 100 or more television channels. I doubt how long we can hold that audience with usual buffoonery or things like that. I consider it as regressive commercialization. They may become conscious and reject it and accept films of other languages which they not get in Malayalam films. I hope that things will change tomorrow.
