MANI RATHINAM AT THE GOA FILM FEST

A good story idea and its distinct depiction on screen is more important than filming technique, film director Mani Ratnam has said. ‘When I write and make a movie, it is the story and its lucid depiction that is primary for me than the filming technique as it comes secondary. I believe that audience come to watch a film for its story and not for its look on screen,’ said Mani Ratnam.


‘It is more important for me to tell the story convincingly, backed by good performances from actors. A good story without the support of good acting will have no impact on people. However, story is bigger than stars,’ he said.
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A filmmaker has to strive for giving a different angle to a concept by exploring newer ideas borrowed from real life incidents, the director of films like Nayakan, Roja, Bombay, Dil Se, Thalapathi, Anjali,Yuva and Guru said. ‘When I see potential in a concept, there is an urge inside me to take it away from the cliche and give a different treatment, something what others have not thought of,’ he said.
‘When one is writing, he has to take inspiration from everyday incidents to get better story ideas. One must also read as much as possible to be able to give contemporary touch for audience to relate with the subject,’ he said.
Ratnam himself has been an exponent of depicting current issues through his films - Roja (Kashmir insurgency), Bombay (post Babri Masjid demolition riots), Dil Se (North East problem), Yuva (youth entering politics) and Guru (depicting India’s journey from a Nehruvian socialist to an emerging capitalist nation).
‘An idea doesn’t come to you overnight. It takes time to germinate and develops over a period of time. Even after staying in the mind for long, if the thought still interests me, then I get the impetus to go ahead and make a film out of it,’ he said. A management graduate, Ratnam began with no formal training in cinema. Yet he is counted as one of the most reputed directors in the country today. But, he still believes that he has not fully evolved as a complete director.
‘I had no guidance, literature to start with. But I had a management background which taught me to conceptualise and execute my ideas. I write bare minimum. I have been always amazed by directors like Satyajit Ray who could write out an entire story board and then shoot accordingly,’ he said.
‘One of the main reasons why some of my films like ‘Dil Se’ and ‘Gitanjali’ did not do well inspite of a good story was abrupt ending. The entire story that has been narrated for two hours, has to end logically as it is the ending for which a movie is remembered by the people,’ Ratnam said.
Ratnam is also known for introducing A R Rehman in the film industry as a composer. All his films starting from Roja in 1992 have music compositions of Rehman and the director now shares a special bonding with him.
‘I have worked with two very classy composers -Illayaraja and Rehman. Both are from two different schools of music composition. While Illayaraja is more spontaneous in his response, Rehman takes time to think over tunes and story situation and labours over it,’ he said. According to him, Rehman, if pushed a little, is willing to think laterally.
‘The greatest challenge for a filmmaker working with people who have had a successful association with him is to motivate them to explore new avenues, without being repetitive,’ Ratnam said. Pushing for the unknown can eventually bring out greater results, he said, adding his films were meant for people and not for awards.
‘My movies are for people. I am hungry for their appreciation. If in the due course any award comes in my way, it is welcome.
However, all awards, especially the Oscars don’t have any value. In fact, Oscars have become a racket where you have to spend lakhs to impress the jury for just nominating your film,’ Ratnam alleged. The intent should be to make good meaningful mainstream films and not look for awards, he said, in his message to budding film writers and directors.


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