‘I used to earn Rs 45 for working 12 hours a day at the age of 14.’
‘The situation at home was weak, so that money was very important. I did whatever work I could find.’
Key Points
- ‘Audience expectations in India are different. We work for 10 to 11 hours a day, so we have a very workaholic culture. After working that long, people want to watch something light and entertaining on the weekends. They want songs and action to keep them entertained.’
- ‘I am proud of our rich heritage and culture, and wanted to represent that through cinematic language at an international level. That’s why I decided to make a film like Gondhal.’
- ‘I have always said that you should compare my film internationally. Don’t compare it with Indian films.’
When Gondhal opened in theatres last November, it did not exactly set the box office on fire.
Almost a year later, the Marathi thriller finally found attention after it was announced as India’s official entry at the 99th Academy Awards.
For Director Santosh Davakhar, it’s a gamble that paid off because he never stopped believing in his film, even it meant putting together his film’s Oscar campaign independently.
“When I went to Cannes, I noticed that the perception of Indian films there was often about poor people or the caste system. These are important issues, of course, but I felt that I had to change that,” Davakhar tells Mayur Sanap/Rediff.
Are you disappointed with the audience’s response to your film?
No. I made this film for an international audience, but wanted to make my Indian audience proud first.
Audience expectations in India are different. We work for 10 to 11 hours a day, so we have a very workaholic culture. After working that long, people want to watch something light and entertaining on the weekends. They want songs and action to keep them entertained.
Internationally, it is different. They work for five to six hours a day, so they have more time and may look for intellectual subjects. Because of that, the audience perception is different.
You didn’t formally train to become a filmmaker. How did you learn the craft and find your way into filmmaking?
Watching films has been my hobby.
During my visit to Cannes in 2016, I watched more than 40 films in 15 days.
I have done a one-and-a-half-month FTII course in scriptwriting. I read Robert McKee’s book, where every paragraph gives you something to think about as a filmmaker.
Gradually, I started thinking about how to write a screenplay.
I kept upgrading myself, learnt film editing and taught myself about character development, shot-taking and other aspects of filmmaking.
After that, I made my first short film. Then I made another short film called Adnyat, which won a National Award for Best Short Film. It is on YouTube. After that, I made two more short films.
When I went to Cannes, I noticed that the perception of Indian films there was often about poor people or the caste system. These are important issues, of course, but I felt that I had to change that.
I am proud of our rich heritage and culture, and wanted to represent that through cinematic language at an international level. That’s why I decided to make a film like Gondhal.
You once said that you often bring your own experiences into your stories. What part of your own life found its way into Gondhal?
I am from Sinnar in Nashik district. When I was a kid, whenever I used to visit my uncle’s village, we would go and watch gondhal (the traditional folk art).
There were no bright lights back then. People would sit on the floor, and villagers would come together to build the whole setup.
It is a different experience now. That experience was inspired by my childhood memories. That’s why I decided to show our rich Indian heritage through cinema. I also wanted to tell a story that would appeal to audiences everywhere.
In international filmmaking, if you want to express yourself in a practical way, the first rule is to thrill people in a simple way. Gondhal does that. That’s why everyone calls it a psychological thriller. It has unexpected twists, but they are presented in a simple way.
Here, we often exaggerate things. Some people jump and hit, and some people hit 10 times. That’s not the kind of filmmaking I understand.
International filmmaking is different. Before the release, you must have seen my interviews. I have always said that you should compare my film internationally. Don’t compare it with Indian films.
Which filmmakers have inspired you?
I will tell you about my favourite films instead.
Life Is Beautiful is my favourite film. It won three Oscars, and remains one of my all-time favourites.
Then, there’s The Revenant, Roma, Schindler’s List, Spotlight and Parasite.
Among the Indian films, Pyaasa is a great film.
In Marathi cinema, I would recommend films like Fandry and Court. There is a lot to learn from these films.
You started working when you were just 14. What do you remember about that time?
I used to earn Rs 45 for working 12 hours a day at the age of 14. This was in 1996. At that time, the child labour law was not so strong. I also did truck unloading.
The situation at home was weak, so that money was very important. I did whatever work I could find. I even distributed pamphlets outside my college in front of my friends. Because, at that time, even Rs 50 was very important.
I met a lot of different people in my growing up years and started observing them. That’s why you will see different characters in my film. You will feel something new in each character. You may not have seen that character in any film before.
You built multiple businesses alongside filmmaking. How do you balance the two?
I am an IIM alumnus. I know how to run business and how to delegate tasks.
Today, I pay an EMI of Rs 80 lakh to Rs 90 lakh per month. There is an empire and a staff of 200 people.
First of all, there was family responsibility. Once I crossed that, I came to my passion.
My family has always supported me. I have my mother and father at home, my wife and two sons, and my brother.
I can follow my passion when there is less interference from the studio because they try to cater to the audience. When you try to please the audience, that masala comes out. After a year, no one will look for your film again.
If you want to make a film like Pyaasa, you don’t cater to the audience. You have to be true to yourself.
Would you find it difficult to work with a celebrity star?
I have never worked with stars.
First of all, filmmaking is not for making money. I don’t think even my EMI will come from filmmaking.
If I don’t see it that way, why should I tolerate anyone’s tantrums? That is not going to help the director’s vision.
Internationally, it is always about the director’s vision. In India, it is different. Here, it is a celebrity film. I am completely against it.
If it is not about money or fame, what keeps you making films?
Passion. I love filmmaking.
The script for my next film Shahaji Raje is ready. The poster is out. We are ready to complete it by the end of next year.
How excited is your cast after the Oscar news?
They are all excited. They never thought this would happen.
I had given them one belief. I told them, ‘I don’t know how much this film will make, but every Indian cinephile, every artist and every HOD who is involved in Bollywood, Tollywood or any other industry will try to find and watch this film.’
I gave them this assurance two years ago. I was very confident of that.
