Mumbai: During an exclusive interview with director Anant Mahadevan, where he discusses the inspiration behind "The Storyteller" movie, highlighting the creative process. He also elaborates on the life lessons and inspiration conveyed through his movie dialogues. Finally, he shares his perspective on the evolution of cinema, noting specific changes he has observed over time, offering insights into the industry's transformation.
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00:00Artist Parishrawal, me, Adil Hussain, Revati ji, Tanishka, all of them are fine, but who is the writer?
00:12Satyajit Ray. So the story of Satyajit Ray, now this proves one more thing that some things are universal.
00:21Some things are never outdated. Some things are for all times.
00:25So the kind of stories he wrote, I wanted to know how we started as a storyteller,
00:33because we wanted to pay tribute to Satyajit Ray, who is a very big influence on me.
00:39And we wanted to pay tribute to him on Centenary year.
00:43So in his written story, I wanted to do an original story. I didn't want to remake his film.
00:49So from his original story, we chose this story. And all the stories are in Bengali.
00:55And since I don't know Bengali, I got it read and listened to by a friend and got it written.
01:02And the name of the original story is Golpo Bole Tare Ni Khuro.
01:06So we adapted that story as the storyteller.
01:10And we tried our best, whatever capability or ability we have,
01:21we tried to pay a humble tribute to Satyajit Ray.
01:27And maybe that's why people found it so different.
01:31In the treatment, in the story, Satyajit Ray has everything.
01:41I don't see dialogue as dialogue.
01:45I see dialogue as conversation.
01:48The way we are talking, we haven't prepared anything.
01:52Neither have you prepared anything, nor do I know what I'm going to answer.
01:56But the way we are talking, it seems real.
02:00We mix some English, some Hindi, that's how we talk.
02:06We take some things back, some words.
02:10In real life, or in films, until you don't bring the mirror of real life,
02:16what is this? Everyone thinks that if a great dialogue is written,
02:22people will like it a lot. That was the time, that's gone.
02:26You're quoting someone, or you're doing poetry, that's fine.
02:33That's literature.
02:36But when two ordinary people talk, they'll talk like this.
02:41They won't use any high-flown language or poetic language.
02:46We are that stone, or he is this, with whom you will collide.
02:50Where do we talk like this in life?
02:54But in our industry, our film industry, there is a misunderstanding,
03:01that until you write such strong lines, people won't like it,
03:07or people won't remember it.
03:10So the way you pointed out in a very right way,
03:13that the simple dialogues that we are writing,
03:16like in Storyteller, when Paresh Rawal comes and sits in front of Adil Hussain,
03:22and that whole volume, War and Peace,
03:26he looks at it and says, oh, War and Peace, you've read it all?
03:31People laugh at that. The humour is that,
03:34who will actually read these three volumes?
03:38So he says, who keeps it to read? I have kept it like this.
03:44I feel that by being in front, all this knowledge gets into my mind.
03:48Now this humour, these lines of real life,
03:53people remember that more, and keep it in mind.
03:57So I don't feel it's a dialogue, I feel it's a conversation.
04:06Generations, at least two generations have passed.
04:10Technology has changed a lot, the audience has changed a lot.
04:15There was a time when we were kids and we were in school,
04:18and we grew up on Manmohan Desai's films,
04:22and Prakash Mehra's films,
04:25Vappi Soni's films, Brahmachari,
04:28Dev sir's films, Vijay Anand's films, Raj Kapoor's films, Guru Dutt.
04:32All these films, the Indian films,
04:35we have grown up on those films.
04:38At that time, I noticed one thing,
04:41that whether it's Manmohan Desai's films,
04:45whether it's Prakash Mehra's films, Vappi Soni's films,
04:49whether it's Rishikesh Mukherjee's films, Gulzar sir's films,
04:52whether it's Bashu Chatterjee's films, whether it's Bashubhattacharya's films,
04:56the audience was there for every kind of cinema.
05:00If they would go and watch Guddi,
05:03then they would also enjoy Amar Akbar Antony.
05:06But they knew what the difference was.
05:09Guddi, Anand, Bawarchi,
05:13and the respect they had to give to such films,
05:18the respect they had to give to such films,
05:21the respect they had to give to such films,
05:24and to go and enjoy Manmohan Desai's films,
05:27they did that too.
05:29So, they were aware of the difference.
05:32In today's world, the audience doesn't have that.
05:35They don't have that patience.
05:37Because at that time, there was no other medium.
05:40Television was there.
05:42But they used to show some films on television.
05:45They used to show old films in black and white, not new films.
05:48When video started coming, VHS,
05:51video, and then television premieres,
05:54and now digital platforms,
05:57when all that started coming,
05:59then a lot of mediums came.
06:01Media came.
06:03So, now people have a choice.
06:05Now the tolerance levels have reduced.
06:07It's not like on a Sunday,
06:09we have to watch a film in the theatre.
06:13On a Sunday, we can watch it on our mobile phones.
06:16We can watch it in our home theatre.
06:18We can watch it anywhere.
06:20We can watch it on iPad too.
06:23So, the novelty of the film,
06:26the film-going experience,
06:29even now when I make films,
06:31I make them for a big screen.
06:33I never think that eventually,
06:35it will come on a small iPad.
06:37That's for later.
06:39That was there before too.
06:41When we used to make films,
06:43it used to premiere on a small screen.
06:45But I never make films for a small screen.
06:47I don't visualise.
06:49I always visualise for a 70mm screen
06:51or a wide screen.
06:55So, that fun has gone.
06:59Now, the medium of television,
07:01the style of television,
07:03the style of close-ups,
07:05this has come.
07:07So, the technology also,
07:09the technology that is helping us,
07:11that in visual effects,
07:13you have made a big jump in VFX,
07:17you have made a big jump
07:19in technical things,
07:21the same style has come,
07:23the substance has reduced.
07:25At that time,
07:27technically,
07:29those films were not so great.
07:31If you see Diwaar, Trishul,
07:33or any other film,
07:35it was simple film-making.
07:39But people didn't watch
07:41that film-making.
07:43What is that substance?
07:45Not the style.
07:47What is the story?
07:49What is being said in the film?
07:51What is the character saying?
07:53Do I have to love or hate this character?
07:55What is the motive?
07:57They used to watch that.
07:59300 elephants have come,
08:0110 people are flying in the air,
08:031000 cars are exploding,
08:05seeing this,
08:07people are getting impressed.
08:09So, suddenly,
08:11I don't know whether I should say,
08:13the taste, the cerebral
08:15intellect,
08:17or the film education,
08:19the literacy,
08:21that has reduced a lot.
08:23At that time.
08:25At that time,
08:27there were theatres,
08:29like Akashwani Theatre in Bombay,
08:31Lotus Theatre in Bombay,
08:33in which,
08:35only selected films were shown.
08:37Films of Mrinal Sen,
08:39Ritwik Ghatak,
08:41Satyajit Ray, Adoor Gopal Krishnan,
08:43Arvindan,
08:45all these films were shown,
08:47or Girish Kasravali,
08:49or from abroad,
08:51all the European filmmakers,
08:53Japanese filmmakers,
08:55if you want to watch good films,
08:57you have to go to Akashwani,
08:59or Lotus,
09:01you go and watch the film.
09:03Now, multiplexes have come,
09:05we had a hope,
09:07that there are 6-6 screens,
09:09some have 14 screens,
09:11that a small Audi,
09:13which has 100 seats,
09:15or 80 seats,
09:17can't it be booked
09:19for such films,
09:21can't you keep some screen aside,
09:23which has a ticket for 100 rupees,
09:25or a ticket for 80 rupees,
09:27and for that, there is an audience,
09:29believe me,
09:31why don't you get seats
09:33in film festivals,
09:35where does this audience come from,
09:37because they are hungry for good cinema,
09:39and they have only one chance,
09:41to enter a film festival,
09:43and watch these films,
09:45because these films won't be released later,
09:47so there is an audience,
09:49but you develop that audience,
09:51develop that culture,
09:53literate that audience,
09:55now this storyteller,
09:57is a big lesson for me,
09:59I always used to think,
10:01no, good films don't work,
10:03you try as much as you can,
10:05world cinema, you claim,
10:07but no one will watch your films,
10:09your films are limited to festivals,
10:11no, the storyteller
10:13has disproved that,
10:15that people will smoke out,
10:17smell out,
10:19because they are hungry for good cinema,
10:21so that was a time,
10:23when technology was less,
10:25and audience taste was better,
10:27films were better,
10:29and this is when technology
10:31has taken a lot of strides,
10:33audience tastes have fallen so badly,
10:35and films have no substance left,
10:37either you are copying something,
10:39or remaking it,
10:41but you are not thinking
10:43about new things.