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By Our Correspondent ©2003 Bollyvista.com |
His father was Surendra Kaul, a well-know writer-director who wrote films like 'Namak Halal'. His grand-uncle was Mahesh Kaul who introduced Hema Malini in 'Sapno Ka Saudagar'. The noted art film maker Mani Kaul is his first cousin. The actor Raaj Kumar ("Jaani") was his maternal uncle. Another maternal uncle, Hiren Khera, made 'Jab Jab Phool Khile'.
And yet Pavan Kaul, with such impeccable filmi pedigree, wanted to join the navy. Not for him - he thought - the greasepaint and spotlights of Bollywood. Rather, exotic ports, the salty air and adventure would be is life. The oceans beckoned.
Destiny, however, had other plans for him.
Pavan Kaul eventually, never ventured to sea. He followed his illustrious relatives into Bollywood. It all began when he was 14-years old. "One day I was reading a book," he explains, "as I came towards the last few chapters I realised that my mind was creating visuals of the previous chapters and I was not absorbing anything that I was reading. Instead of the written word I was thinking in visuals. That incident, I think, was the point at which I decided that I wanted to make films."
Coming from a film background it was easy for Pavan to gain access to studios and editing suites. "I used to spend long hours of my free time watching films being edited’" he says. "I sincerely believe you learn filmmaking in editing rooms." It was this belief and this hands-on experience that held him in good stead in the years to come. Years in which he made many films and introduced actors like Urmila Matondkar, Aditya Pancholi, Sujata Mehta and also gave breaks to Shah Rukh Khan and Pooja Bhatt.
Pavan Kaul is now in the news for his film Sssshhh... which will be released around Diwali. And in which film he will introduce Kajol’s sister Tanisha. The film also marks his comeback to the commercial big screen after a along hiatus. We caught up with the talented filmmaker and asked him to tell us his story:
When did you first join the industry?
My first job was assisting Raj Sippy during the making of Inkaar. I worked on almost the entire film until the last few weeks when I quit. In fact my stint in Inkaar was the only time I worked with someone else.
Why did you not continue as assistant?
It so happened that a certain technician refused to let me learn his trade. That got my goat. I decided that if I were to become a filmmaker I would have to learn the ropes myself. So instead of struggling as an assistant, I bought a still camera and taught myself photography. Then I set myself up as a commercial photographer, from there I graduated to ad and corporate filmmaking.
When did you get your first break?
I am a great admirer of Bhattsaab (Mahesh Bhatt), especially of his early works like Lahu Ke Do Rang and Vishwasghaat. In 1985 I asked Bhattsaab for some story ideas that I could work on. He suggested that I read a book called Look Back in Anger. I couldn’t get the book anywhere. One day I was browsing the bookshops in Colaba in search of the book when I bumped into Surendra Bhatia who used to be the editor of Showtime magazine. He asked me what I was doing. I told him that I wanted to make a film. "How would you like to make six films a year?" asked me. I was floored. That’s when me told me that Nari Hira (of Magna Publications) was getting into the video film business. It was the mid-80s and home video was the big thing. One thing led to another and I found myself directing my first film.
You made your name with Hiba Films. Tell us about your experiences.
Working for Hiba Films was a superb experience. Even 18 year later, I have very fond memories of the eight films I made for Nari Hira. My first film was 'Siyahi' with Kanwaljeet, Sujata Mehta, Vijayendra Ghatge and Anju Mahendru. Some of the subsequent films like 'Kalank Ka Tika' - where Aditya Pancholi met Zarina Wahab and later got married - Naqli Chehra and Scandal were big hits on the home video circuit. Incidentally I introduced Urmila Matondkar in Scandal. Besides the actors I had the privilege of working with acclaimed cameramen like Vinod Pradhan, Pramod Pradhan, Rajan Kothari, Anuj Jotwani and Gopal Shah. They are big names now and they were great technicians then. I can say it with authority that the work we did then is still unsurpassed.
When did you graduate to the big screen?
Between 1985 and 1988 I made eight video films. My first feature film to be released in theatres was Chor Aur Chand in 1990. It featured Aditya Pancholi and Pooja Bhatt. My nest feature was a big-budget movie called Jaadu. It featured Shah Rukh Khan and Raveena Tandon. It was Shah Rukh’s first big movie. Unfortunately, after 60 per cent of the film was completed it was shelved because the producer had some financial problems. It was a big setback. I cannot express how I felt when the movie was stalled. Both Shah Rukh and I tried our best to revive the project but we failed. I then vowed to myself that I would direct a movie only if I could also produce it. Since feature films cost a lot of money to make I turned my attention to television. I set up my own company (Rekaul) and started producing TV serials.
...and made a name for yourself as a thriller director...
Yes and no. Sadma, which was made for DD in 1996 was a complex story with many layers. It did have an element of mystery to begin with and was shot like one. I guess people remembered the treatment of the serial and I got stamped as a thriller director. Not that I mind. My subsequent serials were Kaash and Mausam and they were not thrillers. Later I did a number of horror episodes for X-Zones and the like. My latest was Ssshh Koi Hai for Star Plus.
Your last TV serial and your comeback movie have a similar title.
It is a coincidence. But what isn’t, is the producer. Cinevistaas has produced both the TV serial and the movie. The serial, which is based on the supernatural had very high prime time ratings. Probably on that basis Cinevistaas asked me to direct Sssshhh... the movie which is a murder thriller.
So you broke your vow about working with outside producers.
Yes and with good reason. I don’t think you will get better producers or better human beings than Sunil Mehta and Prem Kishen (directors of Cinevistaas). It has been a pleasure working with them and I will work with them again.
What is Sssshhh... about?
It is about seven youngsters who are trailed by a serial killer. The film extends from Kulu-Manali to Thailand. The film features Tanisha, Dino Morea and Karan Nath in the leading roles.
With Tanisha you have continued your practice of giving newcomers a break.
I like to work with new faces and some stories need new faces. Established actors come with a lot of baggage and stereotypes. Tanisha is a talented actress and from a commercial point of view also adds novelty to the project.
The promos of Sssshhh... look like picture postcards.
I don’t know if they look like picture postcards. But my philosophy is that location is also a character in my movies. A location should have as deeply etched a character as the main roles. Also I hate to work inside studios.
You are known for using innovative camera techniques, how much does equipment contribute to your style of film making?
I don’t think one should use equipment just because it is there. Just because you have a crane doesn’t mean you have to go up and down like a monkey. In fact I think modern filmmakers are being spoilt by an abundance of equipment. Instead I think in visuals. And I think like an editor. I think of how the scenes I shoot will be put together on the editing table. Once that is clear then equipment only helps you to achieve your objective. Equipment cannot make movies.
Now that Sssshhh... is completed what next?
I have a few projects and I should start work very early next year on them. Dino’s Morea’s brother Santino will be making his debut in my next project. |
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