For director Satish Rajwade film-making is all about conviction and vision. The Mumbai-Pune-Mumbai (2010) director loves telling stories that primarily excite him, as he believes, only when he is convinced or excited about the script, will he be able to get the audience excited. Satish says, “Once I am convinced with the story, I work around a narrative to tell it in a particular manner. Only if as an audience I am convinced, will the audience be excited about my product.”
Satish started out by making thrillers and then moved to making films in the relationship genre. His next film Aapla Manus is an interesting combination of both his specialities. “This film lets me tell a story about relationships with a thrilling backdrop. It is the best of both my favourite genres,” adds the director, who will also be presenting Marathi film industry’s first third part film.
Swwapnil Joshi and Mukta Barve-starrer Mumbai Pune Mumbai is Marathi film industry’s first third part sequel. “I am happy that we have come together to make this film. There is so much more to tell about the lead characters in the story. And, the audiences too, were eager about what happened next. We are not doing it to make a record or create a sensation. I just felt the need to take the story forward.”
No matter the genre, Satish has a knack of interlinking relationships into any story or script. He admits that the longevity of relationship-based stories is larger and the Marathi audience associates more with it. “Marathi cinema is about realistic films. It is not about unreal features, which we see in Hindi films. The Marathi film audience doesn’t want to see a repeat of Bollywood in Marathi films. For them, content is the hero, and it is all about who is doing the film. They judge you based on your previous body of work. If you have fared well, then no matter the genre or film type, they will come out and watch your film.”
{{/usCountry}}No matter the genre, Satish has a knack of interlinking relationships into any story or script. He admits that the longevity of relationship-based stories is larger and the Marathi audience associates more with it. “Marathi cinema is about realistic films. It is not about unreal features, which we see in Hindi films. The Marathi film audience doesn’t want to see a repeat of Bollywood in Marathi films. For them, content is the hero, and it is all about who is doing the film. They judge you based on your previous body of work. If you have fared well, then no matter the genre or film type, they will come out and watch your film.”
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