‘If a spotboy doesn’t OK a shot, no tea’
'Kuch Love Jaisa' director, Barnali Ray Shukla, talks about the joy and humility of being a first-time director
What was the root idea behind 'Kuch Luv Jaisa'?
I feel that relationships sooner or later acquire a certain baggage and even if that doesn’t get one to lie, it makes them keep the truth away. So, if you get fired at work by your boss, you may or may not tell your wife about it but you might open up to the woman you end up sharing a cab with. So the idea was to explore such a relationship which doesn’t really have a name. But there was no eureka moment, I don’t write stories like concepts. I did go back and re-write it many times during scripting, as I read newspapers and realised what worked and what didn’t.
How did you zero-in on Shefali Shah to play the lead?
In Hindi films, getting the casting right is most crucial. I was sitting at the office of a certain production house, where they proposed the idea of casting this hot bombshell who would lend credibility to the film and help promote it too. But the way they were selling her and the ‘project approach to telling a story’ put me off and I smelt a rat right away. I had worked with Shefali 11 years ago in Satya, where I was just an assistant. I was aware of her sensibilities as an actress and I just knew she was my Madhu Saxena (her character’s name in the film). So when I approached her with this story, she liked it instantly. She proposed the idea of letting Vipul produce it and I couldn’t believe it. It still feels like a dream to me. I went to meet Vipul, still feeling like this was all a joke. But then Vipul heard me out and said he doesn’t meet people he doesn’t need to and then I realised he was serious about producing this film.
What was the biggest challenge about making 'Kuch Luv Jaisa'?
Honestly, it was the fact that the producer was married to the female lead of the film. But luckily, Vipul was able to ensure that he kept the two roles, of a producer and that of a husband separate from each other.
When you delve into topics like extra-marital affairs, it may not appeal to Indian sensibilities. Did that hinder your plans in anyway?
You have to keep the industry norms away when it’s your first film, to be fearless. And then, my film is not brave new cinema, it’s a family film. Depending upon how open you are with your family. You can call it a romantic film for a liberal family. Besides, if you take films like 'Ishqiya' or 'LSD', you’ll note that they were successful because the market has become fragmented and you don’t need to please the population. And no matter what you do, you cannot Friday-proof your film. At the risk of sounding cocky, I believe that you have to be sure of what you’re saying.
But did you find yourself remoulding the story in any way to make it more commercial?
The narration got groomed and tightened over time but the story remained the same. It’s about a woman who meets an underworld criminal who is pretending to be a detective. So now, I could’ve have let my imagination go wild and she could end up meeting just about anyone. But I can’t get her to meet someone like a Kasab as that wouldn’t be accepted.
Writers often extend a part of themselves into their characters, so how much of you is manifested in Shefali’s part? Did you ever encounter a similar situation?
Well, I would relate with Madhu Saxena on a scale of 6/10. We would think and respond to situations similarly. And yes, the relationship that this character has with the stranger she meets is an aspirational one and I haven’t had a chance meeting with anyone like that but yes, I would like it.
What is the best part of making your first film? And what is the downside?
The best is obviously the fact that people have no expectations and that gives you a lot of confidence. The downside is that even if your spot boy doesn’t like a shot, you won’t get your tea on time. But then this is also a very humbling experience as you lose any form of ego whatsoever and that makes you very receptive to ideas. The best ideology to follow is that, there are many ways to go from Worli to Nariman Point and many people will offer multiple routes but you shouldn’t let anyone touch the steering wheel.
Did you have any creative conflicts with Vipul Shah, since his brand of cinema is very different from yours?
I did take a general time to build trust within the team. If you’re new, you feel like a soft target for some time. But it’s important to address the questions that the ADs or even the DOP have since you should realise that everyone who suggests an idea wants to improve the film.
