00:00So, hello Rishabh sir, welcome to NS and massive, massive congratulations for what Kantara Chapter 2 is doing right now.
00:05The last I read was 510 crores.
00:08If you could update me on that number because it was like 5-6 hours ago.
00:13No, production house announced it on social media, so you can see it.
00:16Okay.
00:17So, with all that that's going around, I heard it has already crossed the record set by the first part of the franchisee.
00:24What all is going on in your mind right now with such humongous success?
00:27It's nothing, just thankful, thankful, gratitude, feel, it's all because of the whole team.
00:36That's the support of Daivu, Ashurvath, and the whole team.
00:41From the production boys, from the producers, the contribution of the film, my DOP, designers, art boys, production boys, local coordinators,
00:56my co-actors, my co-actors, junior artists, it's all.
01:00It's all, including the drivers, everybody has contributed.
01:05And that comes to the audience, who have spread the word of mouth from the social media, so it's very important for a film journey.
01:21So, what happened in the last time, what happened in one week, that is a very big thing for us, so I want to give that credit to the whole team.
01:36And I remember in 2022, when Kantara released, I was going to a field of interviews and suddenly there was a lot of chatter around Kantara, about your work as a director, as an actor, as a storyteller.
01:48I remember that they were flattered by the film, now with the second part coming up, chapter 1 coming up.
01:56Kantara is now one of the cultural cornerstones of India, I am going to say that, not just in India, globally also.
02:03As a storyteller who has told this story, who has minutely weaved this story, every one has made it.
02:10When you witness such success, and you have such an overwhelming audience reaction, what does it do to you as an artist?
02:18The responsibility is growing, and it is also a good idea of doing good work, and it is also a lot of effort and hard work, and it is also a good idea of thinking about it.
02:31Other than that, nothing.
02:33So, we should all be responsible for this whole responsibility and we should go on.
02:39If we talk about chapter 1, it has been a long journey since the last film released, a lot of production problems also came up, I won't talk about that in detail.
02:48But, when you have the conviction to tell a story, that's what I have observed from your journey, in chapter 1 at least.
02:54That if anything happens, but if you have a mindset, then the peripherals don't have to be different from the peripherals.
03:00Now, you might have mastered that art, but many artists who don't have experience, who want to tell a story, a bold story,
03:09like Kantara, but sometimes the peripherals are very deeply affected.
03:14What would be your message to them, to preserve that conviction, to preserve that conviction?
03:20I mean, we don't have to be a problem like that. It's a narrative set of things, because we were not getting into it.
03:28We were not in the forest, and we were not in the forest, and we were not in the forest.
03:32We were not in the forest, when we were in the forest, and we were not in the forest.
03:38We were always in the forest, and we were in the forest.
03:43We didn't do anything at the beginning. There was a trailer, a teaser. So, we went back to the work.
03:51We released a making video, a wrap-up video.
03:56Some people have a narrative set. They go on social media.
04:04Normally, breaking news is not true.
04:09The other story is not true. The other story is not true.
04:14Breaking news is true.
04:16Other than that, the process is very tough.
04:21It was not easy for us to achieve this as a team.
04:25Because writing was also very tough. Script was very complicated.
04:31There were many thoughts. We had to do it.
04:34We had to do it.
04:36Like Dakshin Kannada and Coastal Karnataka, Western Guards, Spices, Trade, Port.
04:44It was a fictional kingdom.
04:49If it was a fictional kingdom, we couldn't have a lot of liberty.
04:52Because the film is realistic.
04:55It's also an approach in the film.
04:57And we used to call the Maya look.
04:59We used to bring the Maya look feel and divinity.
05:03There were many things.
05:05And the stories were very visually demanding.
05:08We used to do it.
05:09We used to do it.
05:10We used to do it.
05:15We used to hold ourselves very strongly.
05:17We used to do it.
05:21To even do it.
05:22We used to do it.
05:24We all had to do it.
05:27We didn't compromise on the start.
05:29We had to be limited.
05:31last shot and post-production
05:33which was finished
05:35because
05:37it was a very strong team
05:39they have been with me many years
05:41especially my D.O.P
05:43I think
05:45he was AD in Lucia
05:47I was a supporting character
05:49Constable character
05:51that was my journey
05:53he is a D.O.P
05:55India is one of the biggest D.O.P
05:57one day because
05:59he has a talent
06:01his lighting pattern
06:03and the aesthetic
06:05sense and framing
06:07and the technicalities
06:09that he contributes as a D.O.P
06:11this is amazing
06:13because a director
06:15takes a vision
06:17through visuals
06:19through camera
06:21D.O.P is very important
06:23D.O.P is a package
06:25costume designer
06:27as a wife
06:29as a wife
06:31as a designer
06:33as a double acting
06:35he has to see
06:37schooling and healing
06:39in Kundapur
06:41and I have a very risky
06:43sequence of shooting
06:45so that is a tension
06:47so that is very difficult
06:49but at the same time
06:51as a designer on the set
06:53the D.O.P is a color palette
06:55and what is the tone of cinema
06:57and as a banglone
06:59the production designer
07:01banglone
07:03the wall color
07:05it is a collaboration
07:07of these three people
07:09it is fantastic
07:11which we have visualized
07:13these three
07:15the ancient time
07:17Tholunado
07:19Kusil Karnataka
07:21there is no picture of the king
07:23there is no picture of the king
07:25there is no picture of the king
07:27but in our
07:29the ancient
07:31history books
07:33and we are very connected
07:35to the king
07:37we are very connected
07:39because we were very close to the king
07:41and we were very close to the king
07:43so we are very close to the king
07:45the king
07:47we are very close to the king
07:49that the family
07:51the system
07:53the family
07:55is very important
07:57they will have the prominence
07:59in terms of
08:01the family
08:03the family
08:05the family continues
08:07the mother and the wife
08:09the wife
08:10the wife
08:11the family
08:13the family
08:15the family
08:16the whole system
08:18they areиваем
08:19this was all reference
08:21he was a very strong trade
08:23from the king
08:25from the Arab people
08:26and foreigners
08:27they were transported
08:28from the ships
08:28from the ships
08:29so they were very spices
08:31I am not sharing
08:32about this film
08:33it was a fictional king
08:36the king
08:39the royal king
08:40family and tribal conflict. It was the same set-up, the same concept, the same concept, the same concept, the same concept, the same concept.
08:47So, we need to recreate that reference.
08:52Especially in these, Arvind Kashyap, Bangalore Braghati, there was a great contribution to Bangalore.
09:00There was a great contribution to Bangalore.
09:10Especially, it was very good because of my work.
09:13So, I wanted to give my whole contribution to my work.
09:16Because the real locations we have set, it's a very beautiful location.
09:23And for that, it was really tough.
09:25It was really tough for everyone who wanted to go to the locations.
09:28They wanted to go to one hour.
09:30They wanted to go to their hands.
09:32They wanted to go to their hands.
09:33There were light boys, light officers.
09:35There were smoke-dallin-malli art boys.
09:38It was very difficult for the production guys.
09:41They wanted to go to the whole team.
09:44There was a lot of effort.
09:46And for chapter 1, of course, Kantara was released in 2022 and then chapter 1.
09:52There was a lot of effort to break out.
09:54As I mentioned, the second prequel was released in Kantara 1.
09:59There were more expectations of the audience.
10:02Now everyone is looking at what Rishabhati is going to do next with chapter 1.
10:06And you said that writing was very complicated.
10:09Because you were trying to weave a lot of things.
10:13When you set such a complex narrative,
10:16Of course, the scale of the film will increase.
10:18The scale of the film will increase in the paper.
10:21I would like to know how many drafts were finalized in the script.
10:26The first part, we ended up writing and preparing for the film.
10:33We finished 3-4 months.
10:36We finished 3-4 months.
10:38We finished shooting.
10:39It was clear.
10:40It was very simple.
10:41It was very difficult.
10:42But we did not get that memory.
10:44We finished 3-5 months.
10:45And it was very difficult.
10:46I think we did not get that memory.
10:47But the first part,
10:48over the last one, the first part is to take the story.
10:53Before we started the story of Shiva's father's story, the script was completed, the bond script was completed.
11:00After we started the story of the first part, we need a back story.
11:05We go back a little bit.
11:07If we don't understand, we will go back a little bit.
11:11We keep it beginning.
11:14We don't keep a legend, we keep a beginning.
11:18It has become a full script.
11:21We can't speak a little bit in a small part.
11:24It will become a back story.
11:26Then we thought that we can't keep a beginning.
11:30We can't write a legend in chapter 1.
11:35That is the process.
11:40Are there 7-8 drafts or more than that?
11:43I think it will be 15-16 drafts.
11:47Oh, 15-16?
11:48Yeah, yeah, yeah.
11:49I mean, the draft is not complete.
11:52It is almost a 15-16 narration.
11:55You can think of an idea.
11:57I will call the producer, the whole team, the idea.
12:01We will discuss some discussion.
12:03The idea is developed and we will talk about it.
12:05We will talk about it all.
12:07Full script, I think, is the full script.
12:09Full script narration.
12:11And for my final question.
12:13Kantara, when I look at the imagery, you mentioned Arvind.
12:17We have a lot of years with you.
12:19We have a wavelength of artists when they work for a long time.
12:23I want to know about the texture of imagery.
12:26The sculptures, art teams, production teams.
12:30What was the process of your input?
12:34I got a lot of pictures in Mumbai.
12:36I got an ad for a shoot.
12:38I got some awards for my people.
12:41So I got all the details about South Kenra and Karnataka.
12:48I got all the details about Karnataka.
12:49I got all the details about Karnataka and Karnataka, Raja Maharaja.
12:52I have a place where I want to look at Kerala and Kerala.
12:55I have a place where she can find,
12:57She has a place where she can come from a coastal region.
12:59There is also a place where she can come from a coastal region.
13:00But it is also a place where she can come from from a coastal region.
13:02Northern Karnataka.
13:03Not exactly the same.
13:05Northern Karnataka is not exactly the same.
13:06Not exactly the same.
13:07Like coastal Karnataka.
13:08In that time, our Raja Maharaja,
13:09in the palace of Kerala,
13:11Even though us have been talking about 300-400 years,
13:17and talking about the royal family and venders.
13:19That is a royal family house.
13:23There are references now.
13:26It's a palace but the roof is grass.
13:30I used to feed it like that.
13:34I used to show it like that.
13:39The wall construction is an ancient process.
13:53It's a process for wall construction.
13:57It needs texture and feel.
14:00And the color palette, Arvind used to decide.
14:03It's a process for lighting and camera.
14:09We discussed it already.
14:11It's a process for the camera movements.
14:15It's a process for the next level.
14:17It's a process for a shot.
14:22It's a process for the cinema.
14:26It's a process for the final output.
14:32I give the freedom to Arvind.
14:35As Arvind will decide better.
14:37It also has the same color palette.
14:40In the art can be decided.
14:42In the same way.
14:44In the modern place, we have to trade the plaid and the styling.
14:52We should look at the costume of tribal costumes.
14:59and the port is very mixed.
15:02There are foreign traders here,
15:05North India,
15:08South,
15:09different regions.
15:11But, in the frame,
15:14you need to feel like this is the one.
15:18You are hit.
15:20That's the thought process.
15:22The minute details,
15:23the last thing is the slave
15:26we have discussed a lot.
15:31We have discussed a lot about detailing.
15:33Individually, Pragati, Bangalore, Arvind,
15:36all of them have been researched.
15:39So, how do we go visually?
15:41Through the costumes?
15:43How do we look at Raja?
15:45Normally, we will get a reference in drama,
15:47not in films,
15:49not in painting.
15:51Other than that,
15:52you need to think about it.
15:54So, our native,
15:56Kustil Karnataka,
15:57we need to see an idea here.
16:00It's like people's life,
16:03their costumes,
16:05their lifestyle,
16:07they need to think about it.
16:09We need to think about it.
16:11Bangalore, through the art,
16:13the background, buildings,
16:15the street, everything.
16:17Light source.
16:19There are many things.
16:22They have to be used.
16:23Excellent,
16:24we also have to use other things.
16:26As a footballer,
16:27we don't have to use all the textures.
16:28The lighting source.
16:29So,
16:30we use a lot of mattes.
16:31The forest lighters.
16:32It's like the whole forest.
16:33We cannot use a light in the night sequence.
16:35The major sequence,
16:36we do not have to use all the small sequences.
16:38The major sequence is also as the forest.
16:40The whole forest will be used.
16:41There will be a lot of 10-15 hours, so you will get an extreme wide shot in the making.
16:48So, this is a lot of work that the technical team has contributed.
16:53Perfect. So with that we have reached the end of this conversation.
16:56How do you want to say something like this?
16:59No, thank you so much for the love and support.
17:02We are all here.
17:05We are all here.
17:13So, see in the theatre and support us.
17:17We need blessings for you.
17:19We keep gratitude and do good work.
17:24Thank you so much and I wish you all the best.
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