Praveen Lulekar
Sameer Vidwans’ speech has a clarity that reflects
in his thoughts. Coming from a strong theatre background, the FTII graduate has
been an Assistant Director for films like Navra Majha Navsacha and Kshanbhar
Vishranti. His first directorial venture, Time Please…Love Story
Lagnanantrachi, is hitting the screens on 26th July. The film is
based on the drama Navaa Gadi Nava Rajya, also directed by Vidwans.
He talks to m4m about his direction techniques, the
thought behind the casting and behind the look of the film.
What was your point of view as a
director while transforming the drama into a film?
Firstly, the story of two characters became that of
four characters. The characters of Siddharth (Jadhav) and Sai (Tamhankar) have
much stronger back-stories now. Also, a film gives you a chance to explore a
lot of locations. The whole treatment differs. We decided to take all the
liberties that the medium offers.
How did the technique of direction
differ?
The scenes in a drama are 10 to 15 minutes in length.
So we cannot have more than six scenes. In a film, the scenes are hardly of two
minutes. The scenes in drama start on the backdrop of lot of things happening
in between. In a film, each detail, each event can be shown. The flow of
events, the placement of songs has to be inclusive. Moreover, drama is a
playwright’s medium while film is that of a director. A film appears to
audience as it is seen by the director. So the approach has to be well defined.
What is the reason behind the change in
casting?
Ketki was a very small part in the drama. It only
appears to take the story forward. In the film, the character is renamed
Radhika (Tamhankar). She, along with Himmatrao (Jadhav) don’t remain just
second leads. They have a parallel story along with the main story of Amruta (Priya
Bapat) and Hrishi (Umesh Kamat). We needed someone who could convey a lot
without saying much; and Sai was the only one who came to our mind. Similarly,
Himmatrao is a very complex character. Siddarth was perfect for it. The
requirement on stage is very different and hence, the actors required there are
different.
The look of the film appears to be very
fresh. What was the strategy behind it?
Firstly, we had decided that camera work should not
be seen, that is, it should not overpower the narrative. This is not a film
where weird camera angles are required. For every location also, we had decided
on a tone. So the house, the office has a tone – the use of colours, lighting
makes it appear fresh.
For the characters, we wanted the costumes to be
today’s costumes. They were designed according to the nature of the character.
There is use of a lot of white in the promotion as well to give it an urban,
classy feel.
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