'Samsara was born out of inner turmoil'
The acclaimed director Pan Nalin shares insights into filmmaking with Sudeshna B Baruah.india Updated: Aug 01, 2007 18:22 IST
Excerpts:Tell us something about the genesis of your first feature film Samsara?
It is born out of the world of confusion that I myself was dwelling in. Be it my inter-personal love relationships. Out of my inner turmoil is born the story of this married young man, who has a wife and a son who gets admitted into a monastery to understand renunciation, but then feels as to how he can understand renunciation when he owes nothing. Thereafter, he sets out of the monastic world to be trapped in a love affair. My spiritual upbringing in the countryside, the wisdom of the people there have also been influential in my coming up with the plot of Samsara.
Do we see shades of Gautam Buddha in your protagonist in Samsara?
To an extent yes. It has been set in a similar tone. But as one goes deep one is set to find a reflection of oneself. Aren’t we as human beings caught at the crossroads of choices and destiny? For instance, one might come out in the evening with the thought of going to pub having a good weekend dinner, but might suddenly end up doing none of them. May be because he was not destined to do what he desired. I however, leave Samara with a question mark where the protagonist has three roads to choose from - to go back to his family, to the monastery or to his love.
You are also known to have an interest in painting and art. Was it choice or destiny that we see Pan Nalin as a filmmaker today? <b1
I also had this teacher who having sensed my inclination for films insisted on my leaving the village and asked me to pour my heart into film-making. Here again it's destiny that played its role. I could also have had a teacher who might have persuaded me to stay back in the village. You may not have then seen me as a filmmaker. For some years, I also dabbled in the world of cinematography and design having joined the National Institute of Design in Ahmedabad.
Not really. My inspiration is very much outside the world of film. Indeed, Japan and Cambodia are some of the surroundings that inspire my themes.
As far as genre is concerned, I don’t believe in films such as mainstream or art. Indeed, if you look into the history of filmmaking, the concept of genre emerged with the setting up of video libraries. Films have to be strong enough to the extent that people can relate to.
You have been credited with making many documentary films. How different is a director’s role in documentary films and feature films?
Well, in a feature film the director is equal to god. He can enjoy maximum flexibility in dealing with the theme. On the contrary, he needs to be more perceptive while shooting a documentary film. He has to be very careful in carrying out research on the theme.Your film Valley of Flowers had premiered at Osian’s Cine Fest. Would you share some details?
Valley Of Flowers is a love story that spans 200 centuries. It is about a demoness who falls in love with a man on earth and does not intend to return to where she belongs. It is here that Naseeruddin Shah comes into the picture and tries to send her back to her hub.It is during the making of this movie that Myelin Jampanoi (French actress) and Milind Soman got attracted to each other, which eventually led to their marriage. When I brought Jampanoi to India, hardly did I know that I am bringing a life partner for Milind (Chuckles).What are your upcoming projects?
It will take a year before I actually reveal any details about my next feature film. We have started shooting in the UK for the same and have also roped in some foreign actors. But as of now I am awaiting the release of my next documentary film Ayurveda-Art Of Being in India.