September 18, 2023
We have an hour to talk to one of India’s finest filmmakers. His films have been seen, admired, discussed and dissected for nearly five decades since 1977. During this period he has made just 18 films and each one has been masterfully crafted with the same care. Despite the fact that his last publicly released film was over 11 years ago, discerning viewers are expectantly hoping for yet another classic from him.
Girish Kasaravalli welcomes us into his home and settles down to answer our questions in his calm and unassuming manner. At the end of the hour of what can be termed as a masterclass in film making, the heavens have opened up outside and the rain is clattering noisily on the tiled roof, drowning all conversation. He graciously fetches an umbrella and walks outside with us to ensure we are as dry as possible.
Still engrossed in the storm of insightful responses and enthralling memories swirling inside our mind, we hardly notice the storm raging outside.
![Let us start with a question about the future. Many people are curious about what can we expect next from you? [Laughs] You are starting with the wrong question. Now, it has become difficult to produce the kind of films I have been making. Producers still come to me but these types of films are not being released in theatres now, OTT (in Kannada) is not picking up and Doordarshan is not focused on movies. You would need at least ₹60 or ₹70 lakhs to make a film and the only financial incentive is from the State Government which is just ₹15 lakhs.
So, I don't want anyone to lose money on my film. Fortunately, barring the latest one (‘'Illiralare Allige Hogalare" which has not been released), none of my films have lost money. Even if they have not made huge profits, they have recovered their investments. It seems like there is no light at the end of the tunnel. So, my previous film could be my last one.](https://bengaluru.com/wp-content/uploads/2022/10/Simple-Mic-icon-70x70.png)
Let us start with a question about the future. Many people are curious about what can we expect next from you?

Your last film ‘Illiralare Allige Hogalare' (''Can Neither Stay Here, Nor Go There") in 2021. It was shown in some film festivals but it was not released elsewhere. Any plans of releasing it for general viewing?
![What kind of producers approach you? Why do they come to you? Many of the producers who approached me did so because my films usually won some awards. They were not interested in awards at Cannes or other festivals abroad. If the film won the National award, they would have an opportunity to receive it from the President of India and then proudly display the photograph. I was aware of this motive but it also enabled me to make films I wanted to [laughs]](https://bengaluru.com/wp-content/uploads/2022/10/Simple-Mic-icon-70x70.png)
What kind of producers approach you? Why do they come to you?

As producers do they step into the creative process or do you draw the line on that?

You have been making films for about five decades. When you look back from the days of FTII to your latest film, how has your work or film making evolved over time? Do you have creative satisfaction with what you set out to achieve?
“It seems like there is no light at the end of the tunnel. So, my previous film could be my last one.”
Girish Kasaravalli, Image © P L Tandon


Creativity, visualisation are natural and come from within a person but techniques are scientific and can be taught in a classroom. You went to FTII and have also taught in a film school. Do you feel film schools are essential for a filmmaker? How important is it for a filmmaker to go to these schools and what value does it add?

You have made feature films, documentary biographies and television serials. Do you change your approach to each of these media?

Women playing key roles in your films is a well known fact. They are also strong characters in many of your films (Aakramana, Dweepa, Hasina, Gulabi, Nayi Neralu). Was this a conscious choice?

Your stories depict conflict between tradition and change. disparity, discrimination or inequality (social or gender or caste or urban/rural). Even though the protagonists are strong characters, they often end up only with moral victories.

You have stated that Ananthamurthy’s thoughts inspired many of your films. Can you elaborate on this?
