Mumbai, Maharashtra: During an exclusive interview with Imtiaz Ali, Vedang Raina, and Sharvari, where they discussed their upcoming film 'Main Vaapas Aaunga', exploring themes of love, longing, memory and identity. Imtiaz Ali shared insights into casting, nostalgia, and how memories shaped the film’s visual language, while Vedang and Sharvari reflected on their transformative experiences working with him. The conversation also dives into Punjab’s cultural influence, the film’s evocative locations and collaborating with legends like A. R. Rahman and Irshad Kamil. In the end, they revealed the soul behind the film.
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NewsTranscript
00:00So hello everyone, welcome to INES and first of all congratulations for
00:03May Wapas Aunga that's about to release next month.
00:05Congratulations, when the picture will be good.
00:08The audience will be a great deal.
00:12Starting off when three of you came together for this film,
00:16I want to know what were the discussions were like in terms of the pitching of the character,
00:21the tone, what were his inputs to you guys and what were your additions from your side?
00:25If you could help me with that.
00:26I think Indiasar should answer first.
00:30The most important decision for a director as far as acting is concerned is the casting.
00:35I felt when I met each one of them individually,
00:39I felt that casting then would be a big favour to the film
00:44because they will bring in a natural exuberance and an interest to the characters.
00:48In terms of Sharwari,
00:57I feel that there was an exuberance,
01:01which is a very important part of the character that she plays, which is Jiya.
01:06And that exuberance is something natural to her.
01:09And therefore it becomes natural to Jiya.
01:12So that's something that Jiya borrows from her.
01:15As far as Vedang is concerned, there is a certain earnestness that I felt would be very good for Kinu.
01:26These are words, of course, but there is a whole lot of, a series of, and the whole emotional process
01:34that he has,
01:36would be very suited to the way Kinu is.
01:39And I feel that when you watch the film, you will understand what I mean.
01:43So the casting is mostly with the grain, not against the grain, if I may say so.
01:46Yes, it is, of course.
01:48And yeah, sometimes it is unexpected to even the person who is casting it.
01:52Of course, there are new things that you discover about the actor every day.
01:56But the basic thing was in the grain.
01:59In fact, sometimes you discover your film through the casting ones.
02:03You discover your film when the actor is performing it as well.
02:08And for you Vedang and Chauri, how was it to work with him to draw from his experiences, his expertise
02:13as a storyteller, what was it like?
02:16I mean, it is, it's a dream come true for any actor.
02:21But you know, this process has been something really special for the both of us.
02:27And I think he's, as a director, he's, you know, so unique in the way he approaches this, which is
02:35a blessing for any actor.
02:37And now I finally know what it means to be in an Imtiazali film.
02:41And what he actually brings to the table, I've seen it firsthand now.
02:45And we both realize how lucky we are to witness that.
02:47So the whole process from day one has just been really special.
02:52And has it changed something in you as an artist to work with him?
02:55Did it change something in you in your perspective towards the world or your worldview?
02:59I think every experience definitely like teaches you something more.
03:04But especially with Imtiazali, I think the emotional range of a character is something that I got to explore as
03:15an actor.
03:17Especially because it is set up in a world that is so different and away from where we live today.
03:23The concept of love being so different, so delicate and so pure.
03:29It was important for someone like me or I think even I would speak for Vedang.
03:35That when Imtiazali kind of guided us through those emotions, I think it brought something really special to the table.
03:41And I think what we learned more so I think is just the real emotion of love, you know, and
03:48the real emotion of longing or where you belong, which is what our film, you know, touches upon.
03:54And I think, you know, we were just speaking about it that Imtiazali writes films that are so beautiful with
04:00characters that are coming of age.
04:01And that's such an exciting time in a person's life, you know, when you're exploring so much about yourself, about
04:10love, about the world, about connections, and that was very, very exciting to just live and breathe all over again.
04:17So, yeah, I think that's just been my experience.
04:20And, sir, I was watching the video of Mascara downstairs.
04:23I love the first frame wherein the two of them are sitting and there's a tree to their left.
04:28It's a very important location.
04:30Yeah, it's a very beautiful frame.
04:32I want to know about the process behind scouting of the location because I love the architecture that's there in
04:37the frame I've seen in the trailer.
04:38So, if you could guide me through that or walk me through that process.
04:41Actually, what has happened in Punjab is that most of the very good architecture has not survived the violence that
04:47Punjab has sporadically seen over the centuries.
04:51Since the film was set in 1947, we were looking at buildings and places that predate 1947.
05:01The particular location that you're talking about incidentally is in a city called Malir Kotla.
05:07And Malir Kotla is also the city or the town that Irshad Kamil comes from.
05:12Yeah.
05:12I didn't know that.
05:16So, I had the unique satisfaction of being the director that played a song of Irshad Kamil to shoot for
05:27it in his hometown for the first time.
05:30Yeah.
05:31And it was actually for me also a very emotional moment because I've seen Irshad ever since he came into
05:37the film industry.
05:39His first film was also my first film.
05:42Or in Malir Kotla, below the steps, there was a, when we were playing that shot, we play, I played
05:50the music and then it hit me that this is Irshad's hometown.
05:53And some bloody small boy from a family went out of there, came to Bombay to make a living.
06:02And then now people from Bombay, 200 people have come to make a movie in which his song is playing.
06:08So, that was a very surreal moment for me.
06:10So, as special as that location looks, it is also special for me for this reason, for this reason of
06:18Irshad.
06:19But, when you saw that location for the first time, it wasn't looking spectacular at all.
06:25Because seasonally, it changes a lot.
06:27All the flowers that came, came later on.
06:31When we did the Rikki, the flowers weren't there.
06:33So, we were looking at, it was special that there is a location called Kachchi Dalan and there is ruins.
06:42There is some vegetation in ruins.
06:45So, this was the most uber covered in a way.
06:49But it turned out well.
06:50And we also dressed it up for it to look like this.
06:53There is a very stark contrast between the ruggedness of the architecture and the full bloom of the tree that
06:59is there.
06:59I really love that.
07:00I feel that the contrast is what the film is trying to show.
07:05That in tumultuous times, something very precious and pure and lovely can be formed.
07:10And that vision of his existed on paper.
07:14This was always a vision he had.
07:17And it's always, so the first time I saw the location of the pictures, I was like, okay, this is
07:20the thing, the red hot flaming flowers.
07:26Right? That's how you kind of wrote it.
07:28So, it was really awesome to see it in person and it was exactly how he imagined it.
07:32So, I guess, you know, kudos to the team for bringing it to life.
07:35Yeah.
07:37And moving forward Vedang, I saw the interview of Diljeet.
07:41He said something to the effect of that.
07:43So, he said that,
07:46This was during the time of Amar Singh Chamkeela.
07:48That Amar Singh Chamkeela was a certain way.
07:53I want to delve deeper into this process of his, to let the artist marinate.
07:57And not give them very pointed briefs.
08:00He lets you breathe.
08:02He lets you explore.
08:04Please explain to me what that process is like working with him.
08:07So, I feel like I spoke about this a few times, but his process is unique.
08:11Not like I've worked with many directors, but he has a unique way of dealing with this.
08:15Like he had a very specific idea of who Kino is or what he's like.
08:22Like what he's like. He used to keep saying this thing to me that,
08:27Before saying it, don't think about it.
08:30Just, you know, he's the type of character that doesn't think about it.
08:33He reacts, not responds.
08:35Very far away from who I am, I personally feel.
08:38So, this is something he constantly kept reminding me and I was trying to discover, I guess he put that
08:43seed of thought in my head and let that marinate.
08:46So, even he said that surprisingly, I remember we were on Reiki and I was talking to you.
08:52And he came to me, he's like, you know, I feel like I'm so glad that you guys are, you
08:57know, you guys have opened up to each other and everything.
09:00And I've seen, I saw the streak of this, like you're speaking without thinking.
09:04So, it was such a, you know, solid.
09:07Yeah. Oh, that's awesome.
09:09Maybe the character is transforming.
09:12But, you know, this thing he told me and I kept that in my head and I don't know how
09:16much of that translated.
09:17But this is an example of how he approaches, you know, information to an actor.
09:24And that was interesting.
09:26And this also answers the previous question of what made, what changes it has triggered working with you.
09:32Yeah, I never thought of it like that.
09:33But that happens often, you don't realize how you've changed.
09:37It's, it just happens.
09:39And Sharwari, you are a Marathi Mulgi, but again, an actor has the luxury to live as many lives through
09:46their characters vicariously.
09:48To step into this character who comes from a very different cultural background, language is different.
09:55The way people interact with each other is very different.
09:58How was it for stepping, for you to step into this role?
10:03Exciting at first.
10:05But as I started exploring, there was so much more to learn.
10:10And, and I've always been this, you know, first venture in life who loves making notes and writing and like
10:17researching.
10:18And I feel like I do that a lot more, but it's still a part of my process.
10:23But, you know, only because I feel like I have the habit to do it in school.
10:26So I do it a lot more.
10:29But, but I remember when Imtia sir and I spoke about this film.
10:35I had, I wanted to go to Punjab before we start even like talking about this film or like, in
10:43the sense like, start reading the film together.
10:45Because I wanted to know more about the land, the people, the food and also because he speaks so much
10:51about Punjab.
10:51Like I feel like, like Imtia sir and Punjab is a love story of its own.
10:55I was about to ask that.
10:55So, so I really wanted to be able to contribute to that because I felt like I was lacking the
11:01minute I was hearing things from him.
11:03And I said I needed to go there and experience this first hand.
11:06So, I convinced my mom and I and both of us went on a trip to Punjab.
11:10And we did all touristy things, right from eating food, to going to all the monuments, to going to the
11:16partition museum.
11:17And I, and I did this purely not thinking that would be for research, but to just go to a
11:23place and be able to.
11:24To get acclimatized.
11:25Yeah, and visit the place and give it the opportunity so that I fall in love with it.
11:29And, and I really, really did.
11:31I think that the people in Punjab are, are the most like heartwarming people.
11:37Yeah, absolutely.
11:38You know, they, it's like the, the way they speak brings a smile on your face.
11:43And, and it was a great experience.
11:45And I think it was very special that my mom and I went on this trip together.
11:49So, I feel like there's a little bit of blessing from my mom because we did this, this special thing.
11:54And when I came back, of course, I was, I was, I had so much information that I started talking
11:59like I was a part of the news channel there.
12:01I was like giving everybody information and made notes and I was telling everybody.
12:05And I realized that I started daunting a lot of people with the information that I had.
12:09But I really enjoyed like, like this process of just going to Punjab, learning something new.
12:17And, and yes, it was the way from my world.
12:19I am born and brought up in Mumbai.
12:21I speak Marathi at home.
12:23It's a language completely different.
12:24But I really think that languages excite me, especially because there's so many languages in our country.
12:32There is so much for an actor to explore so much to learn and understand.
12:36But even today, like when I, when I'm, when I have to listen to music for a scene, I still
12:42listen to Marathi music because it's the language that speaks to me truly.
12:45And the, the words of that language make me feel something most deeply.
12:51But saying that, I feel like, of course, being a Maharashtra has also helped me into more languages because, you
12:59know, all languages somehow are just combined with each other.
13:01You know, they're all like a form of each other.
13:04And, and I really, really enjoyed learning new languages also in this process.
13:10And Imtia sir, when we last spoke, you said that memories are a very essential element of this film in
13:16the way how the film has been captured in the lens.
13:18Now, I look around the office, very tastefully done.
13:22There's an old world charm to it.
13:24It reminds me of my childhood, the buildings, the texture, the walls that I've seen.
13:28For you as a storyteller, as an artist, as a film artist, I'm sure nostalgia is one huge book that
13:37you would draw from.
13:38Could you explain me the process that what's that like for you to storyteller as to draw from nostalgia or
13:45to weave the story together?
13:47Nostalgia is a big part of my Bapa Samuka for sure.
13:49It is the nostalgia of Ishar Singh Garewal that, that runs the film really.
13:59And, you know, also when you are thinking about a memory, it in your mind looks different from how a
14:08contemporary visual looks.
14:10Right? We tried to create that look.
14:12That is the look with which, which Sylvester and Suman and myself went with.
14:21Sylvester Fonseca?
14:21Sylvester Fonseca is the director of cinematography and Suman Mahapatra is the art director, the production designer.
14:30So, we were trying to create a look like how memories are in our minds.
14:34So, sometimes the memories are not very accurate either, but they are uncluttered.
14:44Very minimalistic.
14:45So, if you notice the visuals of Masakara, let's say, it's like a memory could be.
14:53So, this is something, something subliminally that we were going for.
14:56And, of course, for this reason, we were also trying to connect to our own memories.
15:01But how do I remember myself as a child?
15:04So on and so forth.
15:06So, and it also gives a very interesting lens to look at things because then you look at things which
15:12are the sweetest to you.
15:14You know, then you look at the jia of your lives.
15:17Not only a person per se, not only a girl, but maybe a flower.
15:21And you remember a certain tree in a certain way.
15:24So, there's a lot of that in my Bapa sample.
15:28And my next question is for both the actors.
15:31To have a film made by Mr. Intiaz Ali, music by A.R.M.1, sir.
15:37Dilzi Dosanji is your co-star, written by, the lyrics written by Shat Kamil, sir.
15:42To have that in your resume, so early in your career, how does it empower you as an artist?
15:48Yeah, I haven't thought of it like that.
15:49But, you know, I understand the responsibility that comes with being in a film where all these legends are, you
15:57know, there.
15:58And also the privilege of that and I understand that.
16:02And I think these things were always there in my subconscious.
16:06But what I tried to do personally was just be truthful to what his vision was and what he envisioned
16:13of the character.
16:14And my honest pursuit and attempt was to just bring that to life in the most, in the best way
16:20possible.
16:21And I felt like, okay, I'm the person now selected for this job and it's my duty to deliver.
16:28Owing to the fact that all these wonderful people are part of this film.
16:32I think that's how I took it as and I guess that was a very exciting opportunity for me.
16:38And for you, Sharwari?
16:41You know, the names that you just took, when someone says it like that, it just suddenly feels like, wow,
16:46like we were a part of like a film that has all these legends.
16:50And I really hope that we, whatever hard work we've put in, we've done justice, not just to the audiences,
16:57but to everybody's vision here, you know, being so new and learning more from the others.
17:03At this point, I feel like we really have tried to do our best, be as honest as we could
17:10have.
17:12And, and, but, but saying that it's so exciting that we, in fact, got so empowered by them in the
17:19film, you know, like other than like the other way around, of course, what happens after is, is the completely
17:24different thing.
17:25But in right now, in the film to be able to have music, which is done by Rahman sir, written
17:31by Ishaad sir, it just empowers us as actors.
17:34It really, it elevates everything that we do, you know.
17:38So I hope that we've done justice to them versus the other way around.
17:42And, and it's been like, I, I, like I was telling him to answer just recently that Rahman sir sent
17:48me a message recently and said that he really enjoyed scoring the scenes.
17:52And, and I was so shocked that I got this message in the first place.
17:56I sent him an essay about what a big fan I am, but the fact that it didn't hit me
18:00till then that Rahman sir would score our film or, or like I was just in shock.
18:05So I'm very excited to, you know, myself watch the film as a viewer, because I feel that the film
18:13has such a beautiful emotion of love and longing that, that these emotions that we all go through at different
18:19stages of our lives.
18:20And I really hope that this resonates with every age group in some way or the other.
18:25And for my last question, Imtia sir, this is for Tamasha.
18:28Of course, it's a cult film, iconic film, an entire generation lives by that film.
18:33But every now and then I see a reel or a meme content on Instagram, which says, it breaks down
18:39the logistics of the film or the craft of the film.
18:41And then someone comments that, maybe Imtia Salika will not be taken care of.
18:47To make a film, because once the film is made, it's on the audience's interpretation.
18:51It's on their interpretation.
18:53And this is what Irshad sir has said.
18:55It's on people, how they interpret it.
18:57What's your opinion on a filmmaker making a film and then finally letting go of that control of his baby
19:05and surrendering it to the audience at large?
19:09One makes films for people, ultimately, but initially they make films for themselves.
19:18When I'm writing a story, I'm not making it for anybody else.
19:21I'm not writing it for anybody else.
19:23If I'm thinking in my mind a story, in fact, storytelling or movie making begins with daydreaming really.
19:29You subconsciously are thinking of something that interests you.
19:32You're thinking of it again and again, more and more.
19:34Then you start talking to other people about it.
19:38Is film kill you be?
19:39This is what I was doing.
19:40I was talking to people about, do you know that this happened?
19:43Do you know that that happened?
19:45And it's so interesting that, you know, and then, and then it starts to acquire the, it starts to become
19:52a film.
19:56So, what was the question?
19:59To let go of the art of detachment from after you make.
20:02Yeah, so the point is that, yeah, so you start doing it for yourself and then ultimately you, you are
20:08interested in more and more people.
20:10You try to, you know, make it for other people because you want to share this, you know, you want
20:17to share this emotion with everybody.
20:20And then, and then you leave it, then you get out of it, then you don't go back into it
20:27unless you have the ability to go back to it like a regular person.
20:32You know, and like when I see Tamasha or I don't see my films really, but when I do see
20:40a scene of it or something like that, it doesn't appeal to me like my film.
20:45Sometimes it seems like, that's a nice joke, it's a nice smart thing, because I kind of forget and then
20:54I remember that, oh, I was there, you know, all of this happened and I remember what happened.
21:02But what you do remember is your original inspiration.
21:06Is it difficult to detach because it's so personal for you?
21:08No, it's not difficult to detach at all.
21:11Okay.
21:11Yeah, it's very personal, but then you then, but then it goes away. That's a, that's the process of it.
21:17It goes away, not, not on its own. Sometimes it goes away because you now are interested in something else.
21:23Yeah.
21:24You have a new story.
21:26Okay. Perfect. So with that, we have reached the end of this conversation. If there's anything that I may have
21:30missed asking,
21:31or if there's anything that I may have missed asking?
21:34No, this was good, I think. Is there anything?
21:36Yeah.
21:37When the film is releasing and when they should go into theatres?
21:40Go for it.
21:41Oh, I'm doing it this time.
21:42Yeah, of course, you thought of it.
21:43So, our film, Mein Baapasa Hwanga, directed by one and only Imtia Sir, is releasing on the 12th of June.
21:51And it's a story about love and longing. And like you said, a story of two people, but also of
21:56a nation.
21:57And please go watch it in the theatres with your families and I hope you have a good time.
22:03Perfect. So on that note, thank you so much and I wish you all the best. Please take care.
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