7 hours Ago By Sahasranaman Ramachandran
During an extensive masterclass at the International Film Festival of India ( IFFI ) in Goa, veteran Indian filmmaker Mani Ratnam engaged in conversation with actor-director Gautham Vasudev Menon about adapting literature to screen, his approach to period filmmaking, and his creative process. Discussing his recent two-part historical epic “Ponniyin Selvan,” based on Kalki Krishnamurthy’s 1950s Tamil novel, Ratnam emphasized authenticity in period storytelling. “We wanted to make it look like it really happened, that it’s not just a set or something shot in the studio.
There should be sunlight, dirt, sweat – you should feel that you are there at that point in time,” he said. The filmmaker revealed the practical challenges of shooting a period piece set in the Chola era. “If you go to Tanjore today, you’re not going to get any forts.
There’s no palace, nothing left. So we shot in a palace in the North [of India] and digitally converted the architecture to make it more South Indian,” Ratnam explained. On adapting the beloved literary work, Ratnam acknowledged the pressure of reader expectations.
“Each one has their own vision of how each character should be. I was battling not just the five-volume book but also the perception of so many readers who are passionate about it. But the only guiding factor was that I was also one of the passionate readers.
” Regarding the cinematography of “Ponniyin Selvan,” Ratnam detailed his collaborative relationship with cinematographers: “Your DOP becomes your closest person when making a film. I try to bring them in as early as possible, when I have an idea, not a script. The journey is together.
” The director discussed his collaborative approach with composers, particularly Oscar winner A.R. Rahman.
“Rahman is one composer who collaborates very well with the director. The music is his completely, but the style and the options and ability to take a lateral view of the scene – he doesn’t necessarily underline the moments within a scene, but he can do something which is a layer below.” Regarding his filmmaking process, Ratnam emphasized the importance of efficiency while remaining open to organic developments.
“You have to be efficient in filmmaking. Sometimes these accidents are fantastic – you find something you didn’t plan that gives you a completely different perspective. A director borrows everything without any qualms.
” When asked about potentially moving into streaming series, Ratnam expressed hesitation about long-format storytelling. “I’m very happy struggling with two hours. If you give me six and a half hours, seven hours to make, I think I’ll just get lost.
It’s an art you have to learn.” The filmmaker also reflected on his relationship with literature and cinema. “The closer the gap between literature and cinema, I think the better Indian cinema will be,” he said, noting that Tamil-language literature remains a rich, largely untapped source for film adaptation.
Throughout the masterclass, Ratnam maintained that despite his extensive career, each new project feels like starting anew. “If I’m honest with myself, every film is like a first film. When I go there, I don’t know how I’m going to do it, whether I’ll be able to put it together cogently.
Whatever has happened before, good or bad, getting into a new project, starting off with a blank paper just pulls you down to one realistic place where it says that you’re still a beginner.” The conversation also touched on his work with actors. “You have to be very considerate to your actors.
They are the ones who are in front of the lens. You have to make sure they have enough time to prepare, to look fresh, to be able to give their best,” Ratnam said. The packed audience included several luminaries including IFFI festival director, the filmmaker Shekhar Kapur , leading actor Suhasini Mani Ratnam, actor-politician Khushbu Sundar and cinematographers Ravi Varman and Santosh Sivan , both of whom have worked extensively with Ratnam.
Next up for Ratnam is “Thug Life,” headlined by Kamal Haasan..
