KIFF 2025: সত্যজিৎ রায় আলোর রশ্মি, আশার রশ্মি- রমেশ সিপ্পি

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এদিন 'শোলে 2' তৈরি হবে কি না, তা নিয়েও নিজের অবস্থান স্পষ্ট করেন পরিচালক রমেশ সিপ্পি ৷

Transcript

00:00A ray of light, ray of hope, ray of… he was one of the best makers in the world, recognized

00:15by the whole world.

00:18We can only have love and affection for him and all his work.

00:22I was inspired by his work when I was making this film also because his contribution to cinema cannot be compared.

00:34I am delighted to be here and have an eager audience to understand what cinema is.

00:48I still haven't understood everything.

00:52I think cinema is something you learn about every day.

00:57Technology changes.

01:01When I was fascinated by 70mm, at that time the original 70mm negative was used.

01:09By the time I made Cholet, 70mm was not necessary.

01:17You could shoot on 35mm and blow it up to 70mm.

01:22Only you had to make a marking on top and bottom so that the middle frame was the cinema scope length.

01:31You know, in a square, if you have the centre marked oblong, then you get the…

01:39So, when that is blown, you get a proper 70mm perspective.

01:46So, we shot the film in two versions.

01:50Every take had two versions.

01:54Until we came to the action scene.

02:00The action scenes are difficult and to some extent endangering also.

02:07So, when we went ahead with the shooting, we realised that the action scenes, once you had a good take, it wasn't worth risking.

02:23Well, it may not be the life, but some injury is always possible in action.

02:32And therefore, better not to do that.

02:37If possible, do not go for retakes.

02:44And so, we plodded on.

02:47The only thing I had, one principle in mind.

02:53I want what I want, when I want it.

02:57And whatever I did, in pursuit of that, I was never abusive or shouting on the sets, but I always insisted on one more.

03:12If necessary.

03:14I remember there was a shot of Mr. Machin on the bike when it was joined with the sidecar.

03:24In the very first shot, it was okay.

03:27And the whole set, all my staff, all the actors were completely flabbergasted when I said, okay, no more.

03:35So, they wondered what's happened to Mr. Siti.

03:39All I said is, I've got what I want.

03:44And when we saw the Russians also, we realised we had it.

03:50So, how did Jolie start?

03:54Jolie started as a two-line idea, probably a four-line idea.

04:03About the story of an armed army gentleman who, whom, and these two boys had worked in the army.

04:18Mischievous guys and they, he remembered them from there.

04:24We changed it to police officers so that the permissions would have been difficult with the army all alone.

04:35I mean, and each time for any shooting, we would have to consult the army, take their permission and then start shooting.

04:43So, it would have been a complicated way of filming.

04:47That's the reason we made the change.

04:52But, it's a film that Faleem Javed put on paper very nicely with the scenes.

05:04I know, once we okayed the outline for the whole script, when Javed sahab came to the office, we had a scene.

05:15I had only told him one thing.

05:18The character of Gabbar, I imagine a very impulsive and very heady kind of character who would smile and lamp blast the next moment.

05:40That kind of character.

05:45He picked up on it and he wrote the scene.

05:47He came and narrated the first scene to me.

05:50And immediately I knew he had caught on.

05:52What I wanted was there.

05:55And of course, the first scene which came in the ninth reel was the belt along the stones.

06:05If you've seen the film, you'll remember it.

06:07How many people were there?

06:08Fifty years and that's history.

06:20How do I make up?

06:21Everybody says, why don't you make another shoelay?

06:24When the first shoelay has not been forgotten, how do you expect me to make another shoelay?

06:34If people haven't forgotten, what can I do?

06:37All generations seem to have seen the film.

06:41I had the opportunity of being in Toronto for the Toronto Film Festival recently, a couple of months ago.

06:49And the audience in Toronto reacted exactly the same way they did 50 years ago in Bombay.

06:56So how do you beat that?

06:59It's not possible.

07:01It's better to keep trying to do something else.

07:05And I have tried.

07:07And the result is there for everyone.

07:12But it can't be surely.

07:15I think each of the films that I made, I put my heart and soul into it.

07:22And the results are there, but it's not possible.

07:32The people's expectations are such.

07:37All my films have been appreciated.

07:40And I'm very happy with the way audiences have reacted to my films.

07:44This stands out, shoelay stands out.

07:47And it's my film.

07:50So how can I be unhappy?

07:51I'm very happy that people react to this.

07:55It wasn't always easy, but getting that star cast together itself was a task.

08:07When Dharam Ji heard it, I said, where did I ask it?

08:12What should I do?

08:14I should do Jeeb Kumar Road.

08:24Maybe I should do what road.

08:29I said, Haram Ji, are you going to become a villain?

08:33No, no, no, no.

08:34That's all.

08:37Then he said,

08:41but let me do Sajeev Kumar's role.

08:49I said, okay, if you feel that's what you want to do,

08:53I think you should do Viru's role.

08:54But if you want to do Sajeev's role, fine.

08:58You won't get him or Malini.

09:01He or Malini will go to Viru's, so make up your mind.

09:05No, no, no, no, I'll, Viru, fine.

09:10He was very lighthearted about it,

09:13but there was a genuine feeling with all of them.

09:17One role, the other role, they were all well conceived,

09:22well brought out, well written, the lines,

09:27and no lines between Amitabh Bachchan and Jaya Bhadri.

09:34There were no lines.

09:35There was silence, there was the lamp, and there was music,

09:39which Pancham R.D. Varman, Bengals R.D. Varman, played beautifully.

09:47He created that mouth organ piece, and it was a masterpiece.

09:52Feeling about cinema being a class thing as well.

09:59I completely agree, and that's what I've learned from Megali cinema.

10:04Adding to that the commercial aspects of, I've seen western films like Butch Cassidy and the Sunland Skid,

10:13and Amitana's Gold, so if you combine that kind of action with scenes,

10:21so I did not take a scene from one place or the other,

10:25but I was inspired by those audio visuals, and I tried to capture them in different sequences as I could.

10:33So this first sequence of the massacre,

10:39the last gunshot over there is cut to the steaming engine that arrives and Thakur gets off.

10:50By the time it reaches the house, the bodies are laid out, and then when we started shooting, as I said, that sequence,

11:06I was, I had to take call that we shot for two days, and after two days, it was bright sunlight,

11:20after two days, the clouds came off, and we couldn't shoot because the adjustment of lights in those days was not,

11:28not what you could do whenever you wanted to do it.

11:31And so, there I was doing the, waiting for, on the fourth day, I said to my cameraman, Mr. Dwarka Jivecha,

11:45because my mind started working, why not, why not this weather?

11:54And he told me, he warned me, okay, what will you do when the sun comes out, and you'll stop shooting?

12:08I said, now that I've got the scene in my mind, I will stop shooting.

12:15This is what happened, and it took 23 days to fill that sequence because of the weather.

12:24I think, when one looks at it, looks back at it, it was well worth it.

12:33I, for one, along with my entire unit, who was absolutely one behind me,

12:42I would very much recommend you follow your own path.

12:52You see the good films, you get inspired by them.

12:59Look here, for a director, even one frame is very, very, very, very touchy for him.

13:16To, plus or minus one frame, he won't like it.

13:22It's, it's just that, this is right, if he feels like that, that's the way it should be.

13:31You cannot be overtly possessive about it, because like if the censors, at that time, the emergency was on, you could not argue.

13:43So you had to accept.

13:46I tried my best to argue with them, not to touch the film.

13:51I made it with, oh, but there's too much wire.

13:54I said, I have not shown any blood, I have not shown anything.

13:58Yes, I, what I have tried to do is create an impact without visual of, too much blood anywhere.

14:07So they said, that's the point.

14:09Impact, whatever you have done.

14:12I said, you're trying to kill a good movie maker, because he creates the impact without showing too much of blood and gore, as you call it.

14:26It's a bit unfair.

14:28He said, I'm sorry, but that's the way it has to be.

14:32So we had to accept at that time.

14:34And today when you watch the original, you will not feel much of a difference.

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