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“I did not want my actors to compare themselves with the original cast and suggested that she focuses only on her role.”īaskar credits Tamil actor Arya’s presence on the sets for the camaraderie among the team. Initially the actress had doubts about doing the role. Daggubati impressed his director in no time. The idea of a Telugu remake was shelved and work began on Bangalore Naatkal, in Tamil. “I wondered how he was going to fit into Fahad’s character.”ĭaggubati’s commitment to his work surprised Baskar when few months later, the star appeared before him, having lost 25 kilos.
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“Rana had beefed up his body for Baahubali and towered over me,” recalled Baskar, himself six feet tall. Initially the producers planned on a bilingual in Tamil and Telugu, bringing Rana Daggubati on board, playing Faasil’s role.īaskar remembers meeting Daggubati the first time. One of the reasons for the success of Bangalore Days was its multi-star cast: Nazriya Nazim, Nivin Pauly, Fahad Faasil and Dulquer Salmaan. So when PVP Cinemas, a well-known Telugu production house, offered him the remake of Bangalore Days, Baskar took the plunge. Since then he has been known as ‘Bommarillu Baskar.’
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Baskar received two Nandi awards, for direction and screenplay writing. The film, Bommarillu, with Siddharth and Genelia as the leads, was a blockbuster. Hardly new to challenges, this Tamilian who grew up in Vellore, and after a Diploma in Film Technology, made his debut film in Telugu, a language that he neither spoke nor wrote. Tamil director Bhaskar was well aware of this. “There’s so much more to do, there are so many more ways of doing things.Remakes are always a challenge, especially if the original film was a blockbuster, like the Malayalam film Bangalore Days.Ĭomparisons with the original are inevitable. With Koode behind her, she is looking forward to experimenting with form and content, and films in other languages, if the story calls for it. What I have to try to do is to ensure that the people I engage and collaborate with share a certain culture, that we understand where the other person is coming from.” Her own way of dealing with patriarchy is to go ahead with her work. I see the current churn as part of this evolution, where people with one set of values have to deal with those with another set of values,” says Menon. The existing ecosystem is not friendly to all genders and it is important it evolves and changes for the better. “It’s important to recognise that we have a new breed of filmmakers, actors and technicians. She is also a member of the Women in Cinema Collective, which has come out vociferously against the industry body Association of Malayalam Movie Artistes, headed by top male actors, for its misogyny and gender discrimination, including its decision to revoke the suspension of Dileep who is an accused in the sexual assault of an actor.
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She knew then that she wanted to be a part of that world though she was not yet sure how. “I was generally a good student but that day, I knew I could not not watch the rest of her films.” She returned every evening to watch the rest of the films in the Hansel retrospective. I didn’t know a thing about her but the film blew me away,” she says, her voice coming alive as she vividly recalls the details. “The day before my exams, I saw The Cruel Embrace by Marion Hansel. Menon, wearing a long, grey jacket over blue jeans, insulation against the air conditioning inside and the downpour outside, says it all began in Pune, where her days were spent doing her master’s in communication, and evenings watching world cinema at the National Film Archives of India (NFAI). How did a BCom graduate, who was ready to do an MBA after acing the Common Aptitude Test, end up in cinema? I meet her at a studio in Santa Cruz (West) in Mumbai, where she is battling a bout of flu and wrapping up the post-production work of Koode.