While sipping on green tea, he talks to After Hrs about his upcoming release, collaborating with writer Juhi Chaturvedi
Like his films, Shoojit Sircar’s office, too, is unpretentious. It doesn’t boast of any frills, yet it’s airy and the interiors have a bright ambience. As I meet him there on a sultry summer afternoon, the acclaimed filmmaker is busy with back-to-back interviews. However, as soon as he sits down to chat about cinema, his eyes light up. While sipping on green tea, he talks to After Hrs about his upcoming release, collaborating with writer Juhi Chaturvedi for the third time (after Vicky Donor and Piku) and why interpersonal relationships feature prominently in his works. Excerpts…
October is about unconditional love. Do you feel the story is more relevant today when the word is used so loosely?
Yes, the world has been moving at a phenomenal speed over the last few years. Having said that, there is no other way to define romance. The trailer mentions that October is not a love story, but a story about love. There are many things or actions that you do, which could be love, but you might not know it.
Sometimes, when you do something for someone, you feel happy. And, even the other person feels the same. But after just a moment, they forget it and start doing things which stress them out. Juhi and I have tried to explore those moments in this movie.
Where did the idea come from?
It has been with me since a long time as I’ve experienced this personally in 2004. While we were scripting Piku, Juhi told me even she had felt something similar. So, we started talking about it and decided to touch upon it. We read about a couple of incidents and then tied all of it together to make this film.
Why do inter-personal relationships form an integral part in all your works?
Everything in life is about interpersonal relationships, so it’s natural that it features in a movie. Juhi has a knack of picking up their beautiful nuances and putting them to paper wonderfully.
How do both of you complement each other?
Our integrity towards the subject is important. We have always chosen topics towards which we have had the same outlook. For instance, in October, we felt the whole movie should feel like a piece of poetry. We discuss a lot and when she is ready to write the script, she cocoons herself for five to six months. So, it’s an elaborate process.
You have captured different hues of Delhi in Vicky Donor, Piku, Pink and now, October. The city has a special place in your heart?
I’ve spent many years of my life in Delhi, so all the characters that you’ve seen in my earlier works, are from the capital. Even Juhi has spent a lot of time there. My producer friend, Ronnie (Lahiri) is a Delhi boy. Music composer Shantanu Moitra, with whom I collaborate frequently, hails from there too. Everyone in that city is a character of a film. They are so funny and have such raw humour. I’m yet to explore a lot of that place in my films.
Do you cast commercial actors because they give an impetus to your unconventional subjects?
I never cast stars for commercial reasons. That way, I’m a fearless filmmaker. I was clear that I would cast Deepika in Piku. I had watched some of her films and saw the character of Piku in her. Varun was an accidental casting for October. I was on the verge of roping in fresh faces. I had just caught a few glimpses of his work. When I met him in person, I found a different Varun altogether, I was looking at Dan (his character in the film). I clicked his picture, sent it to Ronnie and told him that I had found my Dan. He exuded the integrity, honesty and innocence that the character required.
What have been your cinematic influences that prompt you to make slice-of-life films?
Satyajit Ray is my biggest influence. He was such a modern filmmaker that his films are relevant even today. I’m not ashamed to say that I get inspired from certain aspects in his films, pick them up and incorporate them in my works. Also, the people and things that I see around prompt Juhi and me to capture the small nuances of everyday life.
Do you prefer them to political thrillers, which you made at the beginning of your career?
I haven’t tied myself up to any genre. When I directed Vicky Donor, I realised I could do humour too. Madras Café was completely opposite of it. I would like to explore more of political thrillers. But I will continue to make movies like Piku and October as long as I have good stories to tell.
What are the challenges that you face while making such kind of movies?
They are petty. For instance, it’s convincing a studio what the film is about; sometimes, they just don’t get it. I couldn’t convince one such studio to make Pink. So, I got upset and decided to back it myself with Ronnie. Likewise, it was difficult to explain to a studio what Vicky Donor was all about, they presumed it was crass. That’s why, we’ve started producing our own films. So, that we can make a movie the way we want to. I’m not answerable to anyone else and that makes me happy.
Today, movies like Toilet: Ek Prem Katha and Pad Man are handling taboo topics.What are your views?
In a way, it all started with Vicky Donor. If there is a good story and there are takers, then people will want to watch such movies. If the subjects come from real-life situations, then we should make such films. The taboo is in our heads. If I’m truthful to the topic and don’t add anything to it out of commercial pressure, then it’s good for me. I’m not okay with the idea of doing things for a commercial reason.
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