Image: Tenzin Yeshi Paichang as the young Dalai Lama in Kundun We are the second most populated country in the world and we have such a problem with sex. Where does that question come from? No one wants to take the hard way.Īnd then we become so moralistic about the world. India is the only country where people ask me how I got into the movies, whether I knew someone. We protest against corruption, yet everyone wants someone inside. Yet, it’s a fact that no one in India will stand in a line. It is the same rage that brought people to the streets against the anti-corruption movement. Each individual in the mob, his or her individual rage is coming from somewhere else. When the mob collects, they always beat up the weakest. But we live in denial and I think sometimes it is important to address it in a serious way. There hasn’t been a single time when our society or the world hasn’t been violent. The next film that I am writing is a very emotional one, a simple story about a father and a daughter.ĭo you think - not just in India, but everywhere - we live in a violent society? If there is a car accident in India, people immediately start to beat up the driver. Would you consider making a calm and quiet film? Kundun was a beautiful story about the early life of the Dalai Lama.
Only a guy, who watches it from a distance and is so bothered by it, would be the one to recreate it. People, who participate in violence, usually go see a comedy film. Scorsese was that kid on the block who would run away from violence.Īnd he would hide in the church. He’s actually like a child and his dream project, which he is making now - Silence - is about a missionary who is persecuted in Taiwan. M artin Scorsese, who is messiah of violent films, made a film like Kundun, about the Dalai Lama. Image: Jameel Khan and Manoj Bajpayee in Gangs of Wasseypur Otherwise, the edits make it look exciting. I try not to use it as a gimmick, where you cheat. I choreograph all my violence scenes and try and do long takes. The imagination makes the audience think they actually saw the beheading and they are completely shaken by it.īut when you are writing your scripts and shooting, is it actually fun, because you know the playing with the audience’s imagination? The camera is behind the person and all you see are his hands moving. Even the beheading scene in Wasseypur is not there. That’s the most effective way of using violence.Ī lot of people think violence is strong in my movies, but they aren’t actually seeing it. The film ends with a moment where you do not see the rest of the action. He had all this rage and we knew someone was going to beat him up. They are very happy and content with the way things happen in the expected way.Įarlier this evening, I was listening to a discussion after the screening of Fandry ( National Award winning Marathi film), and one person was saying that she didn’t want the young boy to be beaten up. That’s why I show off-screen violence because people need to wake up. You are tempted to violate the audience watching the film. If you look at it carefully, baring a few scenes in Gangs of Wasseypur, in all of my other films, the violence is always off screen. I have a fascination for violence of all sorts, not just physical violence. So as an adult, he enjoyed scaring other people.
When he was young, his father left him in a jail for one night. Real life violence? If there was a car accident on a Mumbai street and someone was bleeding? I don’t know, because when there is actual violence in front of me, I can’t see it. My question is: Why are you drawn to those kinds of films? Kashyap speaks to Aseem Chhabra about his fascination with violence on screen.Ī few years ago at the Toronto film festival, I was going to watch a romantic film at 9 am and you stopped me and suggested we should see a horror film… Ugly follows the similar track of Kashyap’s works - from the early films (Satya, where he wrote the script and Black Friday, which he directed) to his five-plus-hour long magnum opus Gangs of Wasseypur - large ensemble cast of relatively unknown actors who play realistic, brutal characters. Kashyap has delayed the release of the film in India after he filed a lawsuit against the Indian censor board for their rule that requires all films to carry anti-smoking messages. Ugly has dark and violent tones, and deals with the kidnapping of a little girl in Mumbai. 'The imagination makes the audience think they actually saw the beheading and they are completely shaken by it.'Īnurag Kashyap, in an exclusive interview.Ī nurag Kashyap recently attended the New York Indian Film Festival, where his film Ugly was premiered.
The camera is behind the person and all you see are his hands moving.' 'Even the beheading scene in Gangs Of Wasseypur is not there. 'A lot of people think violence is strong in my movies, but they aren’t actually seeing it.'
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