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Ashok Pandit shot into prominence with Filmi Chakkar
- one of the more successful comedies on satellite TV. Soon
after he made Tere Mere Sapne, a serial that depicted
the story of a joint family set in today's milieu. He also
has to his credit one of the most successful countdown shows
on satellite TV - Colgate Top 10.
However the projects that are closest to Pandit's heart are
the ones he is currently working on - a serial called Muqammal
for Star Plus which is "a woman's search for a complete man".
Pandit is also fiercely passionate about his first movie Meri
Zameen. The movie is set in the backdrop of the Kashmir
problem and brings to light the plight of the Kashmiri Pandit
community to which he belongs. In fact it was this passion
and anger that made him shoot a documentary 'Sharnarthi
Apne Desh Mein' which won the RAPA awards for the best
documentary last year.
Today, Pandit along with wife Neerja, who is a playback singer,
and their two children constitute a happy family but one meeting
with this talented film-maker makes it clear that Kashmir
is very much a part of his sensibilities.
Indiantelevision.com's Amar met the man who wears his love
for his homeland on his sleeve. Excerpts:
What
brought you into direction?
Well, I have always participated in extra-curricular activities
in school and college. At Narsee Monjee College, Mumbai, I
was actively into theatre, though as an actor. Even after
passing out, I was so fascinated by the medium that I started
directing plays as that was the only way I could remain associated
with it because we were not allowed to act in plays once we
had passed out. Thereafter, for my contribution to the college
theatre I got a sponsorship from IPTA (Indian People's Theatre
Academy). Raman Kumar, who is associated with IPTA, then took
me as his assistant for a movie called Saath Saath.
I found the whole process of filmmaking such a thrilling and
enriching experience that I finally decided that direction
was what I wanted to be in. Soon after, I assisted Kundan
Shah and Manjul Sinha in Yeh Jo Hai Zindagi. In fact
I assisted Manjul Sinha for more than 10 years before I did
my first independent project.
What are the qualities required to be an effective director?
Utmost sincerity and conviction in what one is working
on. Everything else such as imagination, man-management, creativity
or whatever is co-related to the first two factors.
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"The
biggest challenge for a director is not to get typecast
into a particular category."
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What
does it take to make a successful comedy?
Nothing much. Just that one has to be fantastically observant
and keep his eyes and ears open all the time, because India
is such an interesting country that there is a vast scope
for humour in our daily lives.
What are the factors you take into consideration before
starting a project?
My foremost concern is the writer because the writer is
the star on TV. See, if you observe carefully, TV is a medium
where you can do without too much of technical finesse and
sometimes even average performances. But the story telling
is one aspect which can never be compromised on. In fact,
I believe for any successful project 60 per cent of the credit
should go to the writer. I have been very selective about
the writers I've worked with. Earlier, Sanjay Chhel used to
write for me. My forthcoming projects, Muqammal and
the film, Meri Zameen are written by Raman Kumar.
Does any particular subject appeal to you?
No. In fact, the biggest challenge for a director is not to
get typecast into a particular category. I take up whatever
comes to me at a given time.
Okay, let us rewind to the turbulent phase of 89-90 when the
militancy problem in Kashmir is said to have unsettled your
career.
Yes, that's right. My career was virtually on hold for three
years. But then, I'm the sort of person who does not believe
in individualistic existence. My community was suffering and
at that point of time, being with my people and helping them
was more important than my career.
Tell
us about your documentary Sharnarthi Apne Desh Mein
which won the RAPA awards for the best documentary last year.
Well, it so happened that I had done some work for Srinagar
Doordarshan and had gone there to collect my payment. As a
filmmaker, I carry my VHS camera with me all the time. I still
remember that dreadful night - 19 January 1990. There was
a sudden announcement from a nearby mosque telling all Hindus
to leave the valley forthwith, leaving behind our womenfolk.
This announcement was then repeated several times and within
minutes, thousands of people had assembled on the streets
and there was complete chaos all around. I was so taken aback
by the whole thing that believe me, it took me quite a while
to make out whether such a thing was actually happening or
was it just a bad dream. Soon after, I took my camera and
started shooting the scenes on the streets. This mass exodus
continued for three days and I've captured the whole of it.
Then, even in the refugee camps in Jammu, I interviewed several
people.
This documentary gives you an on-the-spot account of what
is probably the most shameful night in independent India's
history. Of course, no TV channel will have the guts to telecast
it. But yes, cable operators in Delhi and Mumbai have telecast
this documentary.
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"I'm
still a learner and I try to grasp as many positive
things as I can from different people."
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Right after you came out of the turmoil of Kashmir, your
next serial was an out-and-out comedy - Filmi Chakkar.
Now isn't that somewhat paradoxical?
You've asked me a very pertinent question. Filmi Chakkar
happened at a time when I was still trying to recover from
the tragedy. In fact, initially I felt I was not in the right
frame of mind to direct it. But then I spoke to Kundanji who
I treat as my guru and he emphasised that it would be a challenge
for me to create something which was so different from the
situation I was in. After a lot of thought, I finally decided
to direct it.
How was Filmi Chakkar conceived?
Filmi Chakkar was a depiction of the madness that Hindi
cinema can generate among its viewers. It's just that some
people openly admit it and show it, others are subconsciously
affected by the spell cast by it. There was an episode where
this kid develops a massive crush for his tuition teacher
which is similar to the situation in Mera Naam Joker.
I mean such a thing is so common. In school, I fell in love
with one of my teachers.
How has comedy on TV evolved over the years? Do you feel
there is a surfeit of slapstick?
I don't really see much change between the type of comedy
now and 15 years ago or have probably not got myself to analyze
this deeply. But one thing is for sure, comedy on TV has to
be loud if it has to generate an immediate response from the
viewers. Also, slapstick and situational are not watertight
categories. In most comedies, in fact, we see a little of
both. But slapstick should not be confused with buffoonery
which is something else altogether.
You are one of the few independent filmmakers who have
maintained their identity and been selective about your work.
But does the current fixation on daily soaps leave you idle?
This is just a passing phase. I strongly believe that
in the next six months, the trend of quality weeklies will
re-emerge. In fact I have already shot eight episodes of my
new weekly, Muqammal, which I am doing for Star Plus.
But yes, due to shortage of time slots I have had to wait
for an unusually long period. But then, I have engaged myself
in this film of mine. In fact, if you are capable of making
quality stuff, you need not worry about a lean phase.
What is Muqammal all about?
Muqammal is "a woman's search for a complete man". It will
be trend-setting stuff because for the first time a serial
will justify a woman's rejection of her husband because she
feels that her husband does not deserve her. I don't want
to reveal anything beyond that. For that you'll just have
to wait and watch.
Have you ever thought of directing a daily soap?
No. For me, the quality of my product is very important. In
fact, I watch each of my episodes several times even after
the telecast so that the scope for error is minimized in future.
I don't want to direct a daily soap because I wouldn't like
to work on a project where the director has little idea about
the characterization, hardly knows what direction the story
is going to take and hardly gets the time to see his own work.
How much of an actor does a director have to be? Do you
act out scenes to your actors?
I do that because I've been an actor myself, but I don't
think that is important. What matters is how well you can
communicate what you want from your actors.
Many
actor-directors have used their directorial ventures to relaunch
themselves as actors. Wouldn't you like to do that?
(Laughs) No, no. I've left the actor in me somewhere behind.
Now direction is what evokes passion in me.
You
worked with Manjul Sinha for 10 years. Can you pinpoint what
is it that marks Sinha in terms of style?
It would be difficult for me to pinpoint something exclusively
possessed by Manjul. But I would rather say that there are
three directors who have influenced me deeply- Manjul Sinha,
Kundan Shah and Raman Kumar. And the things that I found common
in all of them are - discipline, honesty and conviction towards
the subject they worked on and honesty towards the viewers
which never allowed them to compromise on any aspect of their
work.
After whom have you moulded yourself as a director?
Nobody in particular. Actually I'm still a learner and I try
to grasp as many positive things as I can from different people.
Apart from the people I've worked and been inspired by - that
is Kundan Shah, Manjul Sinha and Raman Kumar, I have great
admiration and respect for Yash Chopra and Mahesh Bhatt. I
find both to be indefatigable workaholics.
And if you were to take someone under your wing, what would
you require from that person?
Discipline, loyalty and intelligence besides a basic technical
knowledge of the work.
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"I
believe in doing proper homework, so every minute detail
of the shoot is taken care of in advance."
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Who are your favourite actors on TV?
Without a doubt, Irfan Khan. Invariably, I have found that,
thanks to his improvisation, many scenes have come out 50
per cent better than how I visualised them. And to top it
all he does it so effortlessly. I like actors who can perform
effortlessly and that's the reason I like Satish Shah and
Ratna Pathak Shah also.
The
script is very important to you. Have you had to work on any
project where you had to cope with a weak script?
Yes, to an extent this happened with Tere Mere Sapne.
I felt the writer was not supporting me enough on my ideas.
As a result, the first few episodes suffered. But later, I
started spending more with him, interacted a lot more with
him and ensured that he was able to deliver what I wanted.
Kashmir is a very strong element in your thought process.
How has your cultural history shaped you as a director?
See, Kashmir has always had a rich artistic culture and
even today many famous painters, writers, historians happen
to be Kashmiris. So I guess the inclination to embark on an
artistic field came from within. As far as my projects go,
Tere Mere Sapne was inspired from the joint family
culture we lived in during my childhood days. I tried to depict
in the serial the family values we so strongly believe in.
What sort of mood do you prefer on the sets? Is there a
lot of debate while shooting or is that taken care of before
actual shoot begins?
I like to be as relaxed on the sets as possible and maintain
a good rapport with my actors. I believe in doing proper homework,
so every minute detail of the shoot is taken care of in advance.
Even the script reaches the actors' homes much before the
day of the shoot and if they have queries suggestions, that
again is taken care of before the shoot.
What are your views on the production factory process of
TV that Balaji Telefilms has initiated? Does it allow a director
to have a say?
See, what Balaji Telefilms has achieved is something all
of us need to be proud of. But yes, that is their way of working.
Like I've said before, as a director I cannot work in a system
where I hardly get the time to see my own work.
Do you think programming is evolving in India? Or are we
having more of the same?
Programming in India has moved in phases. When Humlog
became successful in the mid-eighties, it inspired a whole
lot of similar family dramas, when Tara hit the bull's
eye in the mid-nineties, it inspired similar stories revolving
around adultery. Now when the saas-bahu sagas have tasted
success, similar serials are endlessly being churned out.
But yes all that we are seeing today is old wine in new bottles
and in my opinion, I won't say programming is evolving in
India.
Which of your works is closest to your heart?
Film Chakkar and Sharnarthi Apne Desh Mein.
Which has been the happiest moment of your career?
It's yet to come. I guess it will be the release of my film?
Finally, with all your outbursts against the 'powers that
be', don't you feel threatened?
(Laughs) No. I just fear one person and that is God.
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