- 21 minutes ago
Adoor Gopalakrishnan has announced his return to direction with Padayaatra after a decade. The film also reunites him with Mammootty as the veteran filmmaker reiterates his faith in theatres.
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00:00Join me in welcoming on stage the legend Adur Gopalakrishnan film director, screenwriter,
00:06producer. Sir, if you could please join me on stage here.
00:49Welcome, sir, to the India Today Conclave. It's an honor for us that you've chosen to be here to speak
00:55about all of your work.
00:57And honestly, I don't know where to begin. Twenty minutes simply is not enough to cover your body of work,
01:02sir.
01:03And some of the films that, you know, you've done have stood out, not just in the Malayalam film industry,
01:10but I think the country, the world has recognized your work so very often.
01:14But I must highlight, sir, a legend coming back now with another film. What brought you back, sir, now?
01:24No, I, see, my, the new film I, I was making after ten years.
01:33So, somewhere, sometime during the COVID, people stopped making, going to the cinemas.
01:43And came the, what do you call, the OTTs.
01:48Yeah.
01:50So, they were watching films on the OTT.
01:54And, and there, there were hardly any people going to the cinemas.
02:00So, around that time I thought, you know, it's no use making films.
02:05Because, because I don't believe in making films for the OTT.
02:09Why, sir?
02:10The film has to be seen in the cinema, in a darkened hall, with people really intent on me, seeing
02:19a film.
02:20That's the experience of a film.
02:22Yes, yes.
02:23The film has to be a full experience.
02:25It, it cannot be a casual experience.
02:27There's a, there's a difference there, sir.
02:29So, many people say that, okay, we'll go to a theater to watch a film with lots of action, a
02:33film that's a 3D experience, 4D, all of that.
02:36And, at home, we'll sit with our family, in the comfort of our home, and watch films that maybe Adur,
02:43sir, makes in OTT.
02:45Actually, it's a compromise.
02:47Okay.
02:47Because, I make films to be seen in a dark, darkened hall, a proper auditorium with acoustics, everything perfect.
02:58And then, you have the sounds, the pictures, everything working on you.
03:03Because, I have before me a dedicated audience.
03:08They have, of all the films running in several cinemas, they have chosen one film, that is mine, they have
03:15come to see it.
03:16So, I have a responsibility to them.
03:21So, I respect my audience.
03:24So, since I respect my audience, I try to share with them.
03:28I'm not giving them lessons, no.
03:32No.
03:34I am sharing an audience, with an audience, my experience, which is worthwhile, you know, sharing.
03:42It should be, they should not be, I should not lead them to the wrong things.
03:48Because, by watching the films, they should become wiser, they should become more critical,
03:56they should, you know, start understanding the world in a completely different way, etc.
04:03So, these are my ambitions.
04:06You've converted me, sir.
04:07I'm always someone who waited for the movie to come on OTT, sit at home and watch it.
04:12It's a compromise, because, because my film, once it has finished its run in the cinemas,
04:18then it can…
04:19I don't mind being shown on the OTT,
04:21because that will bring a little more revenue from there.
04:26Even there, you know, if it runs very well in the cinemas,
04:29then you will get good pay from the OTT.
04:32It depends again on the number of days it runs in the cinema house.
04:38So, it's an experience, it's a connect that you have with the audience that matters.
04:41So, you've come back, sir, because you're saying that you want to bring back that experience
04:45of watching a film in a theatre?
04:48Yes, yes, yes.
04:51Primarily, primarily my films are made for the cinemas.
04:53Not for OTT, small screens.
04:57People watch these things even on their watch.
05:02It is terrible.
05:04Even on a small screen like this.
05:07That is no experience of cinema.
05:09That works very well for these action films.
05:14There is nothing to contemplate on.
05:16There is nothing to learn from the visual.
05:20Nothing to learn from the subtle sounds.
05:23All that is lost there, you know, in a Dushim Dushim kind of thing.
05:28You don't need to even apply your mind.
05:32So...
05:32It's time for us.
05:33I cannot take my mission to make films in that lighter way, like that, no.
05:41Interesting.
05:42Interesting take, sir.
05:43Let me talk about the film that you're now coming back with, Padhi Atra.
05:48It's with Mamuka.
05:50After 32 years, you're working with him.
05:53You're back after 10 years, like I said.
05:55Is it the same?
05:57What's the Mamuka magic, sir?
05:59Can you explain that to me?
06:02No, no.
06:02It's actually...
06:03I have read only very few films, as you know.
06:05Only 13 films, including the new one.
06:08Yeah.
06:0913 films.
06:10Of that, I...
06:11Normally, I don't repeat my lead actor in the films.
06:16Mamma T.
06:17Mamma T.
06:17Mamma T.
06:17Mamma T. is the only exception.
06:19So there's a reason for that.
06:20Yes, the only exception.
06:22Because he has...
06:23We have worked together for...
06:24On three films already.
06:26This is the fourth one.
06:27So that way, he's an exception.
06:30In every...
06:31In every way.
06:33So I went to...
06:35Mamma T.
06:35Mamma T.
06:35heard about my wanting to make a film.
06:38And of course, he knew that I wanted him to act.
06:41Then he told me,
06:42Sir, I would like to make this film, produce this film.
06:46So, I was very happy to hear that, because...
06:50And then he told me,
06:53Whatever you want, you ask me, it will be given.
06:56As a producer, you know,
06:58That was a great offer.
07:00And...
07:02And he has a role which is perfect for him.
07:05And I could not think about anybody else in that role.
07:09Has he changed, sir?
07:10Has he...
07:11I don't know whether someone like Mamma T.
07:12can even evolve as an actor,
07:14because he's always been at his peak, right?
07:15Yes.
07:16But you've seen him for so many years.
07:18Has he evolved?
07:19Is that possible?
07:20Of course, he's not...
07:21He's not the same actor I worked with in...
07:24Really?
07:24In the worst film.
07:26So, better actor.
07:27When I cast him in a role in a worst film,
07:30even...
07:31At that time, he was already a star, a big star.
07:34Only difference was, he never quoted any price for him.
07:39Never.
07:39He has never asked me for this money or that money.
07:44No.
07:44He knew that he will be paid,
07:47but then according to the budget only.
07:49I have a budget.
07:50Always I work with a very detailed work budget.
07:55And I never cross that budget.
07:58And because I calculate, I can...
08:01Of course.
08:01The pre-preparation for the filmmaking is so tight.
08:04It is very tightly done.
08:06I finish my film in the least number of days.
08:11Always less than a month.
08:13And in one go, always.
08:16So, I choose my artists in such a way that
08:19I tell them beforehand that
08:20you have to keep this time...
08:22Right schedule.
08:23I cannot have different schedules.
08:25Different schedules means more expense.
08:28So, it does not mean I am working on small budgets.
08:32And I tell people,
08:33look, I am not doing big budget film.
08:38No, neither small budget films.
08:41I am working with the right budget.
08:44Yes.
08:46Because I don't make any compromise
08:48because I don't have any money.
08:49I never do that.
08:51Because nowadays, sir...
08:52Again, I do not waste even a single pie,
08:56you know, extra.
08:58Because nowadays, sir, in posters,
09:00you will see a hundred crore, two hundred crore project.
09:02And then they'll say,
09:03we've earned five hundred crore, six hundred crore.
09:05Yes.
09:06None of that you believe in.
09:07No, I don't believe in that.
09:09You'll cut off all the zeros.
09:10Pardon?
09:11You'll cut off the zeros then.
09:13No hundred crores.
09:14No, you can't spend any amount of money,
09:16you know,
09:17under the excuse,
09:19on the excuse of making a film.
09:21I don't believe in that
09:22because it is even criminal
09:25to spend that kind of money
09:26on making a film.
09:28You don't need that money.
09:32You've given us a glimpse, sir,
09:33of what...
09:34And I was going to ask this
09:35because we spoke of the Mamuka magic.
09:37I want to speak about the Adur magic now.
09:39What is it, sir,
09:40that makes so many people connect with your films?
09:43Yes.
09:43What do you think it is
09:45that makes people feel that,
09:46you know,
09:47when we've seen this movie,
09:49we've lived through an experience
09:50and there's a connect.
09:51Is it an emotional connect?
09:53Is it with the kind of life
09:55that you bring alive?
09:56What is it, sir?
09:57It is all that,
09:58together.
09:59In fact,
10:00the film works it
10:01and see,
10:02actually,
10:03I am borrowing
10:05two hours of your life
10:07to watch my film.
10:09So I have to make it
10:11a worthwhile experience
10:12for my audience.
10:13I have to be...
10:14I'm very responsible in that sense.
10:17So I pack as much information
10:19as I come into the film.
10:21So when you are...
10:23Just life,
10:24as you live in your real life,
10:27you don't...
10:28You don't...
10:29Just do one thing in one line
10:31and there are several things
10:32you are living with.
10:33Yes.
10:34The same way,
10:35there are many layers to my work.
10:37That's what I weave into it.
10:39With the advantage that
10:41it can stand several viewings
10:45and every new viewing,
10:47you will get new meanings.
10:49Wow.
10:50This is the idea.
10:51This is...
10:52And also,
10:52I am very particular that
10:54I am not making a film
10:55for the...
10:56Like a newspaper story.
10:58A newspaper story
10:59is just for that day.
11:00Yeah.
11:00Next day it is old.
11:02I don't want my film to be old.
11:05Eternal,
11:06timeless.
11:06So, you know,
11:07it should be valid
11:10and relevant
11:11even for the coming days.
11:14So,
11:15it is not like that.
11:16And fortunately for me,
11:18people ask me
11:19about my old films,
11:21even the first film
11:22that I made,
11:23second film,
11:24all that,
11:24they talk with
11:25a kind of nostalgia.
11:26So,
11:27that is very important.
11:28Yeah.
11:29You mentioned,
11:30sir,
11:30about how
11:31you believe
11:32that films
11:32should have
11:34the right messaging,
11:35the correct outcome.
11:37Society learns from it.
11:39Very often now
11:40we see a lot of films
11:41where
11:42the villain is glorified,
11:44where you'll have
11:45negative messages
11:46and the filmmaker says,
11:47look,
11:48the audience is mature enough
11:49to understand it,
11:50to take away
11:51what they need to from it.
11:52What do you think, sir?
11:54No,
11:55it's actually,
11:56I believe,
11:58because normally
11:59the commercial,
12:02the industry cinema
12:04in general,
12:07they believe
12:07that audience
12:08is stupid.
12:11Audience has no power
12:13to think.
12:15They are right also
12:16in a way.
12:17If you try to make,
12:18there's a very
12:19tight rope walking,
12:21if you try to make
12:22the audience think,
12:25you will fail,
12:26because the audience
12:26doesn't want to think.
12:28They want to entertain.
12:31Generally,
12:31generally,
12:32as a,
12:32as a bias,
12:34as a,
12:35as a whole,
12:36they,
12:36they don't want to think.
12:39Because,
12:40traditionally,
12:41cinema has been
12:42taken for
12:43as a,
12:44as a way of
12:47passing type.
12:50in Malayalam,
12:51they say,
12:52Nairangolli.
12:56So,
12:57it is,
12:57that is the role
12:59cinema was given
13:00very traditionally
13:00for,
13:01for,
13:01for a long,
13:02long,
13:02long,
13:03long time.
13:04But today,
13:06things have changed.
13:07it has gone through
13:08several lives,
13:11in fact,
13:12several deaths
13:13and real,
13:15no,
13:15reborns,
13:16and all that.
13:17It has gone through
13:18the medium.
13:19It has come out
13:20as a great medium,
13:22probably,
13:22the best man
13:24has ever invented.
13:28Wow.
13:29Yes,
13:29it has come from
13:30that small little stage
13:31when people wanted
13:32to,
13:32just to see
13:34movement reproduced.
13:36That was the
13:37theme of the
13:37mankind
13:38for several,
13:39several
13:40thousands of years.
13:42Finally,
13:42they discovered
13:43that it could be,
13:45because,
13:46there came the
13:47technology also
13:48to their help.
13:50Right.
13:50You know,
13:51suddenly,
13:51we started making
13:52the,
13:54the,
13:54the,
13:54the recorded
13:56image moving,
13:58then the recorded,
13:59you know,
14:00sounds talking,
14:02all these
14:03became possible.
14:05And,
14:06and,
14:07and slowly,
14:08it,
14:08it started
14:09with imitations
14:10of other art forms,
14:12like theater,
14:13literature,
14:14things like that,
14:15and even painting
14:16and all that.
14:17But then,
14:18then it grew slowly,
14:21with every new
14:22film being made,
14:23with every new,
14:26artistic work
14:27being done
14:28in cinema.
14:29It went on
14:30developing its own
14:31character and soul.
14:34So,
14:34cinema has evolved
14:35as,
14:36as a great art form.
14:38We don't realize that.
14:39We look at,
14:40and respect things,
14:42like theater.
14:44You know,
14:45the,
14:45you want everybody
14:46to make long speeches,
14:47and you want to clap
14:48and say,
14:49all that.
14:50So,
14:51that primitive
14:52level of appreciation,
14:55we cannot make films
14:56for them.
14:57It's not possible.
14:58So,
14:59I believe that
15:00we can make them,
15:02make them start thinking,
15:06start associating
15:07with the visuals,
15:08because each visual
15:09has a different meaning,
15:11each composition
15:12has a different meaning.
15:13then just,
15:16the characters
15:17don't stand there
15:18just to deliver
15:18their dialogue.
15:20There is a lot more to it.
15:22You don't,
15:22they don't have to speak
15:23at all,
15:24most of the time.
15:25The visuals will show you
15:26what is,
15:28what you are going through.
15:30But I have to ask you this,
15:31sir.
15:32The reason is that
15:33now,
15:34especially,
15:34we see a lot of youngsters
15:36influenced by cinema.
15:37You know,
15:37sometimes you read
15:38these headlines saying,
15:39inspired by so and so film,
15:41by the climax
15:41and so and so film,
15:43this person has committed
15:44a crime,
15:44this person has done that.
15:46And then there are
15:47questions that are
15:48debate over whether
15:49the filmmaker
15:49should be held responsible
15:50for the message
15:51that was sent out
15:52to a youngster
15:53who committed
15:54this wrong.
15:55What do you think?
15:56Do you think that
15:56the filmmaker
15:57should be held responsible,
15:58or this is
15:58a societal problem?
16:01No,
16:02actually,
16:05what people are doing is,
16:08what is easily consumable,
16:10they are producing,
16:12that's all.
16:13So there is,
16:14there is no such
16:15commitment as to
16:16provide them
16:17with the right kind of
16:18feeling from cinema.
16:21As I said,
16:22it's not teaching you
16:23lessons,
16:24it's not preaching you,
16:25in fact.
16:26It's a,
16:27as I look at it,
16:28it's,
16:29I am trying to share
16:30an experience,
16:32an experience which will,
16:33it is worthwhile
16:35sharing,
16:37and it should have
16:38some meaning
16:38for my audience.
16:40Otherwise,
16:40why should they
16:41choose to come
16:42and see my film?
16:44So I,
16:45I have great respect
16:46for my audience,
16:47but they should also
16:48respect my work.
16:52that's what I ask
16:54in exchange.
16:56You know,
16:57it's,
16:57it's a fair bargain,
16:58it's a fair exchange.
16:58Yes,
16:59fair enough.
17:00You,
17:00for the last many years,
17:02as a legend in your own right,
17:03have also been very vocal,
17:06as a very active citizen,
17:08you've spoken on politics
17:09in this country
17:10on several issues.
17:11And I want to understand
17:12from you,
17:13sir,
17:14is it opposition
17:15to one particular
17:17political party,
17:18or do you believe
17:18that as a citizen
17:19there are certain issues
17:20that you feel
17:21you need to speak out on?
17:22See,
17:23I have nothing to do
17:24with politics.
17:25Nothing.
17:27Nor can I
17:28blame somebody
17:29for having won the election
17:31and ruling this country
17:33or the state.
17:34You know,
17:34I don't want to dabble
17:36in that at all.
17:37As a citizen,
17:40on certain issues,
17:42particularly when it is
17:43concerning cinema
17:44or my life
17:45or my brother's life,
17:48I'm concerned.
17:50Yes,
17:50well,
17:51there is a great injustice
17:52on the face
17:52of something.
17:54Then I,
17:55along with other
17:56intellectuals,
17:57other artists,
17:58we express our view
18:00that it's not fair.
18:02We want to
18:04invite the attention
18:05of the
18:08powers that be
18:09that this is happening,
18:11should not happen.
18:13More than that,
18:14I don't go into
18:16their politics at all.
18:17I am not interested
18:18in it.
18:19No,
18:20not at all.
18:21I have friends
18:22in every political party.
18:25You know,
18:26of course,
18:27they are,
18:27they are the right,
18:29amongst politicians,
18:30they are very good people.
18:32I don't say
18:32every politician
18:33is detestable
18:34or anything.
18:35No,
18:35no.
18:36They are wonderful people
18:38amongst the politicians.
18:41So,
18:42I have friendship
18:42with so many people,
18:43you know,
18:44respect to their political ideology
18:47and all that.
18:49So,
18:50it's as a citizen
18:50that you speak of?
18:51As a citizen,
18:53sometimes I feel guilty
18:54if I don't talk out,
18:57speak out.
18:58Do you worry though?
18:59Because very often
19:00when you ask an artist
19:01to speak on an issue,
19:02they say
19:02that,
19:03look,
19:03we'll be targeted
19:04by the political dispensation.
19:06Do you ever worry
19:06that your films then
19:07will be the target,
19:09that your art
19:10will be targeted?
19:12No,
19:13no,
19:13actually,
19:15it can happen,
19:17of course.
19:17Immediately,
19:18some political parties,
19:21they look at
19:22a very
19:23simplistic level.
19:25When you
19:27talk about
19:27as a citizen,
19:29they misinterpret it.
19:30They think
19:31this fellow
19:32is against us.
19:33Exactly.
19:34It's not fair.
19:35It's not fair.
19:36You know,
19:36see,
19:36as a citizen,
19:37I have a very right
19:37to talk about
19:38any issue
19:39that concerns
19:40a citizen.
19:41But I don't
19:43talk about
19:43every issue.
19:44I talk about
19:45only those issues
19:46about which
19:46I am knowledgeable,
19:49about which
19:49I am concerned,
19:50not everything else.
19:54Sir,
19:55in the last few seconds
19:56of this conversation,
19:59I'd love to know
20:00from you,
20:01is there any
20:02Malayalam film
20:03that you've seen
20:03of late
20:04that really stood out
20:05for you,
20:05any filmmaker
20:06you think
20:07is showing
20:07great promise
20:08to become a legend
20:10like Aduragopalakrishna?
20:11I don't know
20:12about legend.
20:14I don't consider
20:15myself a legend.
20:16No, no, no.
20:16You're being modest.
20:17No, no, no.
20:18Actually,
20:19I just,
20:21I don't compromise.
20:23This is one thing
20:24I claim.
20:25I have never
20:26compromised.
20:27Every film,
20:29after finishing
20:30every film,
20:31I had the impression
20:33that I have done
20:34my best
20:35with every film.
20:36Which is your best film?
20:37That's what I'm seeing.
20:38At the moment,
20:39it's the last film.
20:40Oh, okay.
20:41So right now,
20:41it's Padhi Atra.
20:42Okay.
20:42This is my feeling,
20:44I'm telling you.
20:44I may be wrong or right,
20:46that's different.
20:47But I,
20:48this is the feeling I have.
20:49That means
20:49I have put in
20:50my very best
20:51into every film.
20:53I couldn't have made
20:54a better film
20:55at that point of time
20:56in my life.
20:57Because as I
21:00live along,
21:01as you pass on
21:03with the experience
21:04and things like that,
21:06you come to assume
21:07so many things.
21:08You learn many things.
21:10You unlearn
21:10so many things
21:11in that process.
21:13So that is a,
21:14in my,
21:15in my case,
21:16it's a question of
21:19learning
21:19and revealing.
21:22This is the process
21:23I do in my films.
21:25So films,
21:27you know,
21:27one film
21:28will not be like the other.
21:30Because each time
21:32my concerns
21:32are different.
21:33You're learning
21:34differently.
21:34You're learning, yes.
21:35But tell me one movie,
21:36sir,
21:37that you saw recently
21:38that really impressed you,
21:39that you enjoyed watching.
21:41Oh,
21:41I liked it a lot,
21:42this film
21:44called,
21:50I'll tell you,
21:51by Christo.
21:58called Adiurika.
22:00I think Adiurika,
22:01isn't it?
22:02It's Adiurika.
22:05Pardon?
22:06Ullurika.
22:07Okay,
22:07with Urvashi.
22:08Ullurika,
22:09yes,
22:09yes.
22:09Yeah,
22:10Urvashi,
22:10yeah,
22:11Ullurika.
22:11You liked that movie.
22:12Very good.
22:13With Parvati and Urvashi.
22:14Very good film,
22:15yes.
22:15That's his first film.
22:16Yeah,
22:17I agree,
22:17I enjoyed that movie too.
22:18So,
22:19it's good,
22:20I'm sure he'll keep this in mind
22:21now that you've praised it,
22:22sir.
22:22We wish you all the very best
22:24for Padhi Atra.
22:25I can't wait to see it.
22:26I can't wait to see Mamuka
22:27in action.
22:28Thank you so much.
22:29Thank you very much.
22:29A big round of applause,
22:30please,
22:31for Mr. Adir Gopalakrishna
22:32for joining us here
22:33at the India Today Conclave.
22:35Thank you, sir.
22:35Thank you very much.
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