Filed under: My Journey Teaching the subject of Film International Baccalaureate at SVKM JV Parekh International School | Tags: Afternoon DC, Becoming 18, film competition, film making, film workshop, filmmaking, oorvazi irani, Pocket Films, short film competition, SVKM Culturama, Svkm J.V.Parekh International school
Film is the most ‘modern art form’ and it is a privilege to be involved in a medium that is an amalgamation of all the older arts. As a Mentor on this platform I see my role to nurture and help young minds discover the medium and through that discover their true self and the world around them.
It gives me immense joy to be mentoring young filmmakers for the film competition in my international school cultural festival ”Culturama 5” to be held on Jan 28th and 29th 2017 in Mumbai.
Filed under: Film/Acting Family Speak | Tags: Bhojpuri films, cinema, Deswa, film, film appreciation, film education, film workshop, filmmaking, indian cinema, Mithila Makhaan, National Award, Nitin Chandra, Nitin Neera Chandra, Oorvazi Film Appreciation Course, oorvazi irani
Nitin Neera Chandra
National Award Winning Filmmaker 2016
Attended Oorvazi’s Film Appreciation Batch 2009
After I Completed my Masters learning Cinema for two years at Pune University, I came to Mumbai and started working as a production assistant but until I attended Oorvazi’s Irani Film Appreciation classes, I did not know what I was missing. Those 8 days of workshop literally changed the way I was thinking and streamlined a lot of thoughts about Cinema and how it is suppose to work. I remember making two short films for which I was rewarded with a DVD which I have still kept.
I directed two films Deswa and Mithila Makhaan, I had joined Oorvazi’s workshop as preparation of for Deswa. Deswa want on to become first film in the Bhojpuri language to get selected at Indian Panorama section of prestigious International Film Festival of India, Goa. in 2012
My second film Mithila Makhaan is winner of National Award, ‘Best Film in Maithili Language’ in 2016. Thanks to Oorvazi because one part of my little understanding has her contribution.
Filed under: My Journey Teaching the subject of Film International Baccalaureate at SVKM JV Parekh International School | Tags: cinema, film, film appreciation, film education, film workshop, filmmaking, Filmmaking Course, filmmaking for Beginners Course, International Baccalaureate, learning film, Nishi Panicker, oorvazi irani, svkm international school, Svkm J.V.Parekh International school
Nishi Panicker posing with Oorvazi Irani on her school Graduation day
International Baccalaureate Film Student, SVKM International School(Batch 2014-16)
Currently awaiting her final results with IB
I joined IB thinking that film would be the easiest of my subjects and now when I reflect back it was probably the most challenging. Our very first class, I remember Oorvazi ma’am asking us why we chose film and what aspect we loved the most. I was confused because I remember feeling like I didn’t know anything about film,which in retrospect was true. I don’t know how two years flew by but one thing I can say confidently is that there’s not a single a class with ma’am where I’ve left with the same knowledge as when I entered.
There’s always something to learn from her whether it’s her undying love for the art of cinema,her enthusiasm or her unwillingness to ever stop pushing you to be the best that you can. She helped me develop my love for writing,she taught me to always dig deeper because when it comes to learning there’s never an end point. Every single moment of frustration was followed by an increase of reverence whether it was her pushing me to a better writer and director or just sitting on the sidelines and letting me learn from my mistakes.
Oorvazi ma’am strives to teach you about film but unknowingly teaches you how to be a better learner and a greater person and for that I will always be grateful to her. To me she was more than just a teacher who had an allotted two hours,she is someone I look up to because she will never stop caring.
Filed under: My Journey Teaching the subject of Film International Baccalaureate at SVKM JV Parekh International School | Tags: film appreciation, film education, film workshop, Filmmaking for beginners, filmmaking for Beginners Courses, oorvazi irani, Rahul Sharma, short films, svkm ib school, svkm international school, Svkm J.V.Parekh International school, young filmmakers
International Baccalaureate Film Student, SVKM International School (Batch 2011-13)
My talented young filmmaker is currently on his way to pursue MA Filmmaking at the London Film School
Director & Screenwriter – “Story of a Lonely Goldfish” (20min)
Rahul posing with his Film Poster at the Seattle International Children’s Film Festival
‘Rahul. Take it easy. Plan it out well. You don’t have to shoot tomorrow. Let’s brainstorm first.’ These are the words that echo in my mind when I think of my film teacher and mentor Oorvazi Irani. As you can figure it, I was always in a hurry..to experience things…to make films…to live life…or even to be free. But it’s at times like these that you need someone to tell you to hold on, take a step back, understand and evaluate. And only when you’re ready, allow you to fly. Such was her role in my nurturing across the years.
She lent utmost support to me when I directed my first experimental film ‘Huma’ (7 minutes) be it in its conceptualisation or storyboarding to even the final touches in the editing suite. The best part about her involvement was that she gave me enough creative liberty and space to carry out my own ideas. She was just there to guide them and put them forth in the right direction.
Most of my love for cinema..its vast horizons of genres..its numerous techniques..and knowledge about some of the great masters of the artform were inculcated by her. During my IBDP (International Baccaulaureate Diploma Programme) course, I was able to write a 4000-word extended essay on Akira Kurosawa and portrayal of violence in its most unique facets in his films. I also wrote a 12-minute audio visual script conceptualising myself as a narrator talking about The French New Wave and its Influences on cinema from across the world such as the Hollywood New Wave and the Iranian New Wave. The IBDP film curriculum required in-depth research, thorough analytical skills and above all passion. I owe all of this to Ms. Oorvazi Irani’s guidance, effort and most importantly, belief.
I remember I was overjoyed when her debut film Path of Zarathustra was released in theatres. Here is the work of an artist who defied stringent cultural paradigms, related to the true essence of her culture and recognised her own voice. The film not only breaks traditional Zoraoastrianism barriers but also lucidates forward thinking with courage and spirit. I have also never seen anyone maintain the dualist balance of an actor-director better than my film teacher in her first work of art.
I look forward to seeing more of her films and would recommend her course ‘Filmmaking for Beginners’ to all cinephiles, cinema lovers and anyone even remotely interested in the art, as she is someone who can reinvigorate her energy into you.
Filed under: My Journey Teaching the subject of Film International Baccalaureate at SVKM JV Parekh International School | Tags: Altamash Jaleel, film, film appreciation, film education, film workshop, filmmaking, filmmaking courses, filmmaking for Beginners Courses, International Baccalaureate, oorvazi irani, svkm ib school, svkm international school, Svkm J.V.Parekh International school
My first IB film student
International Baccalaureate, SVKM JV Parekh International School (batch 2010-2012)
Currently pursuing his dream course in the footsteps of his idol Martin Scorsese
Student BFA in Film/TV Production at NYU Tisch
I came to Ms. Oorvazi Irani’s IB (International Baccalaureate) film class as a Martin Scorsese fanboy and graduated the program as a full-time Cinemaniac. Ms. Irani is a living, breathing film encyclopedia, and her students develop not only an appreciation for the great masters like Truffaut and Kurosawa, but come out with an education of the entire history of cinema and how it shapes and unites cultures through the universal language of film. But, I feel that there is an even greater aspect to her approach, and that is in her persistence to find one’s truth. She advocates the ‘auteur’ path to filmmaking and has always encouraged me to reflect on my personal experiences as source material for my films. I think I was very lucky to have her as my first film teacher, since she never stopped pushing me to dig deeper and find meaning in the littlest of these experiences so that I could write and direct a personal story, and ultimately a film that I will always be proud to call my first.
Filed under: Film Musings | Tags: 7th IDSFFK, Anupama Sreenivasan, “The Invisible wars”, Bina Paul Venugopal, Cannes film festival, Coast of Death, Director Bina, film education, Film Festival, Gitanjali rao, Grandmother, IAWRT, IAWRT Asian Women's Film Festival, IDF, IDSFFK, Indian Documentary Foundation, Indian Film festivals, International Documentary, International Documentary and Short Film Festival of Kerala, International Indian festivals, Jaaved Jaaferi, Mamaiji, mumbai, oorvazi irani, Paul Venugopal, Rajiv Mehrotra, Saba Dewan, Shashwanti Talukdar, short films, Sophy VSivaraman, Sundance Film Festival, The International Association of Women in Radio and Television, The Last Adieu, True Love Story, Wall Stories
It is always a joy to be traveling with your film and I feel that a work of art is always in the making, it is never really complete, you discover it a new way through the eyes of the audience each time and your work takes a rebirth.
Recently I was invited with my short film “Mamaiji”(Grandmother) to the 7th IDSFFK International Documentary and Short Film Festival of Kerala. I received a personal email from the Artistic Director Bina Paul Venugopal , who is the heart and soul of the festival(and has sadly retired from the festival this year) and I quote This year along with IAWRT we are programming a section of Short Fiction Films by Women and would very much like to screen Grandmother in this Special Focus which was to be curated by Anupama Sreenivasan, Festival Director IAWRT (The International Association of Women in Radio and Television) Asian Women’s Film Festival. I am also very grateful along with Bina to Anupama for taking interest in my little film and giving it a beautiful platform starting with the IAWRT festival itself held earlier in June 2014. So it seemed Kerala was calling and I packed my bags to visit the beautiful land.
Once I reached Kerala I was in the care of Bandhu Prasad who was in charge of the Festival Filmmakers’ Liason & Artists’ Facilitation Desk who made all the necessary arrangements for us to feel at home and enjoy the festival. As I drove from the airport to the hotel I cannot forget the first impression of leaping white waves dancing to their bliss of existence, so complete so powerful a vision that stayed with me and one of the regrets of this visit was that I did not find the company in others or myself to come back to the seashore but my wish was fulfilled in a cinematic experience latter in the festival itself so that was some consolation. I quickly proceeded to my hotel and reaching on July 18th was in time for the Opening Ceremony of the festival which had an inspiring speech by Rajiv Mehrotra, Managing Trustee PSBT(Public Service Broadcasting Trust), who I made a mental note of to meet in the near future. He was not quiet the person I had in mind who would head a government organization like PSBT as he passionately advocates the cause of the independent documentary in India.
I met a few friends, one of who was on the Jury ( no, I would not be breaking any rules if I met him as my film was not in competition and was part of a Special Focus section) but he was kept so busy by the Festival authorities during the festival that I could not spend any time with him on the remaining days which was disappointing but was compensated by other activities and films and there was always something exciting to do. The two opening films “La Estancia” and “Nelson Mandela, The Myth and Me” both were a good beginning to exploring new perspectives. There was dinner thereafter and a good night’s rest followed.
19th July and I open my hotel door to be greeted with headlines from the festival. It felt like company to be welcomed by the newspaper of the state mentioning your film. That was the day my film was to be screened. It was an almost packed house for the Special Focus session. There was a special Q and A arranged with the filmmakers but what was a slight damper was that each film did not get its focus in the Q&A as it was after all the 4 films screened and some of the audiences started walking out of the auditorium after the screenings. But that is always the case and why do I complain, there are so many films to catch in a festival like this.
Standing for the Q&A with Anupama and the other young woman filmmakers Anoodha Kunnath, Arya Rothe in the special focus ‘Films by Women’ an interesting question arose about the perspective of women filmmakers, the question put to Anoodha who had directed her short film ‘My Grandfather’s Yakshi’ was that why did she not use a young girl as the protagonist and instead a boy as the film was born out of her own personal life and something her grandfather use to tell her. What was more interesting is when the topic came to the discussion what really consisted in the film which was unique as a woman director’s perspective and I in turn asked the audience what they felt in her film was not a woman’s perspective. We were told that the cameraman must have been a male gender as the way he captured the female ‘Yakshi’ was sensual and more like a man.
This opened a very interesting question to explore in all our films. What is it that a woman filmmaker can do or say in a film, is she just more sensitive and can we really find a particular vocabulary in women filmmakers’ in modern times and is there a need. Of course there was Laura Mulvey and a lot of independent women filmmakers before and after her who fought the traditional grammar of filmmaking to represent the woman as object and made radical shifts but are there nuances that are subtle yet obvious in a woman filmmaker. In fact its always sensitive men filmmakers like Satyajit Ray that we talk about in relation to powerful women sensitive films and many commercial women film directors today don’t like being slotted as a woman filmmaker. Can you really tell the difference is something that I have not yet found a definite answer for and am still searching as an audience and artist. It’s interesting that my film never set out to be about a woman but yes the feminine gender does hold an important place in my identity and search as an artist which subconsciously surfaces itself in my work. The film for me was about making the ‘ordinary’, ‘extraordinary’ which is all around us and in its simple existence is so beautiful and rich. There were some questions about my film which I was most happy to discuss and the film had a fan (who had most of the questions to ask) in one charming young lady who was a young filmmaker herself, Vaishnavi and was participating with her film “Doll” dealing with the metamorphosis of a relationship between a young girl and a barber, there was a passion and excitement that I saw in her eyes and I am sure she will go places, we connected and remain so.
I did shortlist quite a few films but just managed to see the following which I was richer by the experience and touched me in more ways than one.
I would like to make a special mention of the documentary “The Invisible wars”. I was choked by the Investigate Documentary directed by Kirby Dick dealing with the epidemic of rape within the US military and its cover up. Here are these strong women who are broken from within and their lives are not the same. Sitting at a comfortable distance from the trauma I could not even begin to understand their pain and justice was in the waiting. I felt I needed to follow the story in real life and hoped justice would be delivered soon, here is one film which goes into the real world and can make a difference. The documentary premiered at the 2012 Sundance Film Festival, where it received the U.S. Documentary Audience Award and was also nominated for the academy awards.
Trailer “The Invisible wars”
My desire for the sea was soon fulfilled and I experienced cinematic pleasure for 81 min seeing the “Coast of Death” – a poetic ode to the Galician coast in northwestern Spain in which a fly on the wall camera observes the magical land of ‘meigas’(witches) where fog and drizzle prevail. The filmmaker says We adopt a slow and poetic view, letting time going by within the image´s frame, this allows us to observe landscape´s movements. To convey the idea of dialogue and relationship between landscape and people we use wide shots where the human figure is seen distant but his voice is heard close. The story suggests the experience of Finisterre´s landscape. A journey that will go away from reality to a dreamy look immersed in the mythical representation of the Coast of Death. This experimental feature was judged the best New Director at the Locarno Film festival 2013.
Trailer “Coast of Death”
I was introduced to the personal and professional world of Sukhdev by his daughter Shabnam Sukhdev who takes us on a personal journey coming to terms with her famous father after his death, trying to find the man and father she never understood all her childhood and a coming of age film. It was a beautiful discovery titled “The Last Adieu” .
Trailer “The Last Adieu”
I took this opportunity not to miss seeing the animation film “True Love Story”(18 min) by Gitanjali Rao sensitively and creatively capturing a Bollywood style love story as a theme which was part of the 2014 Cannes Film Festival 10 selected short films at the Critics Week. I would like to quote below from an interview done by Animationexpress.com
What inspired to make ‘True Love Story’?
I had been toying with the idea of first love for a while. And being a Bombayite I spent a lot of time in traffic jams watching at life unfolding on the street sides. I began to get interested in the lives of street boys who work hard selling flowers and books at traffic signals but are looking for love by impressing girls all the time. I loved observing the small flirtations that happen between these flower sellers. I wished to tell the story of these young boys and girls who have complicated migration stories yet their spirit survives in the chaos of the big city, and then, emerged a first love story between two people living on the streets of Bombay.
Another charming world opened up with the documentary “Songs of the Blue Hills” by Utpal Borpujari. It is a feature length documentary, the first ever film (mentioned by the filmmakers) to present a wide range of Naga music and musicians to take the viewer on a journey through contemporary forms of Naga folk music.
During the course of the festival I happened to enter a screening of a film in progress by a young filmmaker Tanushree Das. I was impressed by its contemplative style and self-reflection which used image, sound and the medium of sms text messages, “For You and Me” is a film of yearning and the struggle to sustain relationships in a society steeped in both physical as well as technological distance. Since I reached almost at the end and missed it I made it a point to communicate with the director at the festival and managed to make contact and now await to see the film which she has so kindly personally shared with me.
One of the other highlights of the festival were the workshops and one of them attracted me was titled ‘Impact Campaign Workshop’ Conducted by the IDF Indian Documentary Foundation which is a Not-for-profit organization co-founded by Jaaved Jaaferi and Sophy VSivaraman for the Promotion, Development and Funding of Documentaries in India and about India. I felt the workshop was targeted for young filmmakers and some experienced filmmakers felt out of place during some of the activities but however it was nice to be introduced to this platform which is very encouraging for the medium of documentary and non-commercial film. So I might catch up with Sophy and the gang in the near future and see if worlds meet and if it interests you do have a look at their website and work.
Javed Jaaferi talks about IDF
The festival for me was coming to an end and it was not possible to attend everything and one of the many things I missed were the films and talk by Saba Dewan, who was the Filmmaker in Focus at the festival, and will explore her work shortly. She says Paradoxically, more creative documentaries are made in the of darkest times and during the most oppressive regimes… Funding and distribution of documentaries are important, but if the film has nothing new or creative to convey, it will all be useless.
I did not go to the sea but I managed to pick up some traditional mundus for my dad from a Kerala emporium from the main market close by and ended my day with beautiful company with two spirited lovely lady filmmakers – Shashwanti Talukdar and Kavita who were put up in the same hotel as myself and were attending the festival with their film “Wall Stories”.
I was leaving the next day and they had just arrived, we shared a meal and we parted, I came to Mumbai and they continued to savour the pleasure of being in the company of cinema.
Filed under: Professional Talk | Tags: artistic films, Bergman Foundation, Dheeraj, Dheeraj Akolkar, documentary film, documentary on Liv and Ingmar, film on Liv and Ingmar, filmmaker's jounrey, filmmaking, films on films, Ingmar Bergman, Liv, Liv and Ingmar, Liv Ullmann, oorvazi irani
I met Dheeraj through his film “Liv and Ingmar” and immediately connected, and made him a friend for life. In spite of not having met him I yet feel that I know him so well. One of the few films in modern times that will remain with me for a lifetime is this film which is in the form of a documentary because of its real life dynamics but goes beyond that in its cinematic and artistic experience. The tenderness and yearning for truth is at the core of this film and moved me. The theme of Love so precious to human beings is unfolding on screen through the beautiful prism of the lover Liv Ullmann and the filmmaker Dheeraj. I invited Dheeraj to speak about his journey as a filmmaker, an artist who made this film a reality and what I share with you is an inspiring real life story of deep faith, sincerity,passion and love. …Oorvazi Irani
1. Every film has a journey for an artist and the process when reflected upon is a great self realization. Would you like to share with us some of the secrets it revealed to you about yourself and the world, before you started working on this film.
‘Liv & Ingmar’ was very important on many levels. To be able to envisage a film and then to actually make it are both things that can stay on a piece of paper or in the heart of many filmmakers. I was struggling to get the film made.
I wanted very badly to make films. Your question takes me back to those times in London when things got so difficult that for a moment I thought that this world is not going to let me put two pieces of images together with a little sound on it. It got that bad.
I developed and sent out 22 film projects in 18 months to different funding agencies. This could come off as desperation. And it was. I wanted to make films. I met with producers who played with my situation. They came on board and did nothing. Then they left me in lurch. I would write emails and make several phone calls that would all go unanswered.
Do you know this feeling inside your heart, when you have so much to say and so much to give and so much to do, but all you meet are walls… dead, cold walls, that you don’t know where to begin, what doors to knock on and if there are any doors.
But I believe in action. I believe in doing. I also have friends who yank me out when necessary by saying one or two harsh things.
So I kept trying.
I wrote the theme of ‘Liv & Ingmar’ as a poem, then my friend Christina Christensen brought for me Liv’s address from Norway and in complete naivety I wrote her a letter. Then Liv called and expressed her support. That point was a very bright point of hope. I thought to myself – “Liv has said YES, which means I can do this. So I am gonna…”
Then my friend Rocco helped me build a trailer together. We did this sitting in Goldsmiths college library where we both worked in the graveyard shift at the library reception.
Then I started taking the project out in the UK and I went to many people. Most said that this story belonged to Scandinavia and had nothing to do with the UK so I wouldn’t have any support.
Then I met Mr. Uberto Pasolini ( Producer of ‘The Full Monty’, ‘Bel Ami’ etc and Director of ‘Machan’ and ‘Still Life’ ) Uberto suggested I went to Sweden. Sitting in his office he dug out the contact details of Ms. Katinka Farago who worked as Mr. Bergman’s script girl since ‘Wild Strawberries’ and who later produced masterpieces such as ‘Fanny and Alexander’ and Andrei Tarkovsky’s ‘The Sacrifice’.
So I wrote to Katinka, who by then had retired and instead directed me to the Ingmar Bergman Foundation and The Swedish Film Institute in Stockholm.
That year I went to Cannes with my short film and walked up and down that croisette meeting different people, collecting addresses, seeking meetings and failing quite a lot
I returned to London and wrote to all the contacts I had found. 70 producers in Sweden and 10 producers in Norway and eventually they all said a big NO. In addition to saying NO, they were very keen to inform me that I was not going be able to make this film, that this film had no theatrical future and that it was not a story worth telling because “There was too much Bergman in the Market anyway..”
It kills you slowly. So many rejections. And suddenly the number people directly telling you that “you are a failure” increases rather rapidly. I had people laugh in my face and at times behind my back and that is not a pleasant thing at all.
My friend Marie Bonnel who was my guardian angel in London, used to organize dinners on Monday evenings because that used to be my day off from work, invited me over for one such lovely dinner at her place in South Kensington. There I met someone who had an invitation to the Swedish Ambassador’s house for a Book Release on Mr. Bergman. He could not go, and offered me to go instead. So I pulled out some decent clothes and took a bus to Mr. Ambassador’s residence.
It was a lovely evening and I spoke to the ambassador about my film who kindly asked his secretary to put me in touch with some important people in Stockholm, one of whom turned out to be Professor Maaret Koskinen.
So in 2009 I decided to go to Stockholm. My friend Love Kallmann offered me a place to stay in his house. I got cheap air tickets and went off.
Professor Koskinen was super supportive of the film and she introduced me to The Bergman Foundation and producers of ‘Saraband’ Mrs. Pia and Mr.Torbjorn Ehrnvall, who by then had also retired, but were encouraging.
Then in 2010 I was fired from my Library job due to recession. This whole time I was writing and filming and doing other things, but now I also needed the money.
My friend James Wallace was acting in a play called ‘The Peddler’s Tale’ at Edinburgh Fringe and his director was looking for someone to film the production, so I went to Scotland on the job and the first person James introduced to me was actress Ms. Ragnhild Lund from Oslo, Norway.
Ronnie, as she is called by her friends, offered to take my material to Norway, which she did and got a meeting with Mr. Stein-Roger Bull and Mr. Rune Trondsen of NordicStories who wanted to meet me.
They came on board as producers and the rest is history. But till the very last moment the struggle to make the film right did not end. Different forms of struggles came up…But now there were amazing collaborators on board and together we made ‘Liv & Ingmar’
To come back to your question, one of the greatest self realizations that this film gifted me was the knowledge that IT IS POSSIBLE !!!!!
It is possible to make a film you believe in making. It is possible to make it the way you believe its aught to be made. It is possible to do it RIGHT. It takes time, but that time helps the film more than anything else.
People can always laugh at you and call you a failure and take great happiness in your pain. But ultimately you are the only one who can fail yourself. And you have a greater responsibility, if you have to make the film.
In the end you realize that It’s not about you. It’s about the film.
2. How would you define Love ? When you are tackling a very delicate yet universal subject like Love – did the process enlighten you. Did it change any ideas you had or the film reemphasized your own experiences about love.
One of the main reasons why I wanted to make this film was Love. To have experienced it myself, I recognized what Liv had written in her book ‘Changing’ but I also recognized what she had not written.
‘Liv & Ingmar’ is not ‘Romeo and Juliet’ or ‘Heer Ranjha’ but it is a story of their kind of love, their kind of friendship. I find it real and very worldly. Far from perfect, filled with personal flaws and yet, beautiful and tender and forgiving and enveloping and unrequited on many levels.
I felt that a lot was strewn around in memoirs, scripts, letters, images, sounds and songs that could be woven together to look at a story from a tender point of view.
Our film is not a journalistic, court room account of truth. Our film is a journey of reminiscence with blurred edges, rounded corners and a walk in the woods with a tune to hum.
It certainly reinforced my belief that to love, one does not have to stay under the same roof. One does not have to be in the same city, country or continent. One does not have to be married or in a relationship with the person. Love is about two energies meeting in one single, bright point of truth. The rest of it is survival
To love it is indeed not necessary to have love in return. One can love because one is capable of loving and giving. Love does not have to be a calculation depending on what you get in the process.
It frees you up, liberates you in a way you never understand. When you take responsibility for your action of love, nothing else affects it. And that is a beautiful feeling…
I don’t define love. I want to quote Gulzar saab’s song from ‘Khamoshi’ where he writes – “Pyaar ko pyaar hi rehene do, koi naam na do…”
Connections are about one point of truth, rest is destiny!
3. Do you feel Love is different for the male and female gender and how ? As a filmmaker did you feel you did justice to the two points of view ? And did the absence of Ingmar Bergman affect the film in any particular way.
I don’t think love is different according to genders. Love is human.
My idea was to touch upon the inexplicable, the unsaid. I don’t think ‘Liv & Ingmar’ defines love. But after the film, you may come out having experienced it and more.
At the end of the film that person sitting in front of the camera in a black shirt is not a superstar or a legend. To me it’s a beautiful 73 year old woman and she seems to say – “Yes, I held his hand. I loved.”
It’s that simple.
That, you cannot challenge. That, you don’t challenge.
I don’t know what would have happened if Mr. Bergman was alive and a part of the film. Perhaps he would have added stories from his side. I would have loved to meet him and in some ways, I felt I did.
Having spoken to those close to him, I do know for sure that he missed Liv in the last days of his life.
In his whole house there is not a single image from his films, except one – In front of his bed, on a bare wall, is a photograph of Liv Ullmann and Erland Josephson touching their foreheads in that immortal scene from ‘Saraband’.
That is love.
4. I feel an artist is always reflected in his work, do you agree and how do you see that manifesting itself in this film ?
I am not good at analysis of my own self and my work. In fact for many reasons I avoid it. I am sure that a lot of me is in the film. How can it not be? But I would rather leave it there.
Making art is also about not knowing everything. Making art is about not having all the control. You make it from a point in yourself that you don’t understand, simply also because its not that concrete.
I felt deeply empty when ‘Liv & Ingmar’ finished. Perhaps that is a sign. And its best to leave it at that.
5. Liv commented that your film was a gift to her ? Could you share with us how and why ?
I will never know what she exactly meant when she said at the dinner before the premier that this film was a gift to her.
But I have my own take on it.
She was always looked at as one of Ingmar’s actresses, as one of the many women in his life. She was criticised heavily for living with him and having a child out of wedlock. Many people believed that she used him and many people said nasty things about her and continue to do that.
People forget that he went back to her 12 times. What does that say? People forget that he could have made these films with any other actress – why did he keep going back to Liv? People forget her contribution to those films and how much she brought to those roles. He himself writes in his autobiography that it would have been impossible to make these films without her.
She is the only woman to have ever directed an Ingmar Bergman script for cinema and she has directed two. They have a child together. The place where he declared his love for her, he built a home for her – a home that he lived and died in. They worked together for 42 years. She is in the last frame of his last film.
This kind of association does not happen in everybody’s life.
I am sure she must have been tremendously hurt by critical remarks from people, I am sure she must have felt insulted and humiliated. To such an extent that before his funeral a priest from the church in Faro island specially called her to inform her that she was not allowed to walk behind his coffin, because she was not married to him!!!
What must she have felt?
This world builds squares and if you don’t fit in, it is very quick to point fingers at you, to inform you that you are a failure in life because you did not follow the pretty squares…
Then comes someone wanting to make a film to celebrate what you had with the man. Someone recognises your contribution. Someone puts a camera on you and listens to your side of the story. Someone finally says, that what Liv and Ingmar had together, was something beyond that this world understands.
Perhaps there is no term yet coined for every emotion we feel. Perhaps there are things we don’t fully understand. Art allows us to experience that.
May be, that is why Liv felt that this film is a gift to her, not a critical whip-loving analysis, but a tender space that allowed a story to be told.
We were showing the film in Singapore at IIFA 2012. After the film, there was a question-answer session when a reporter asked Liv as to why she agreed to do this film with an unknown, young director from India and this is what she said,
“Sometimes you are 73 and you are standing on a bridge and you meet a stranger. He is a whole new generation than yours, he comes from a different country, from a different continent. He speaks a different language even and then he offers you his hand…”
“Sometimes you should take that hand and jump…”
I am happy Liv took my hand and jumped.
On behalf of everyone who made the film, I want to say that making ‘Liv & Ingmar’ was a gift to US
Here is the official film website