Mumbai: A special interview with actor and director Rishab Shetty, where he discussed his latest film Kantara Chapter 1, which has been a massive hit and grossed over 451 crores worldwide in its first week. After that, he attributed his success to the film, stating, "Any recognition I'm getting today, I owe it to Kantara". Then, he revealed that he is currently working on multiple projects, including Jai Hanuman and Chhatrapati Shivaji, and emphasized the importance of staying true to one's craft. He shared insights into his writing process and revealed the challenges of crafting a complex narrative.
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NewsTranscript
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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