Ad filmmaker, cinematographer, photographer, there are so many facets to Kochi-born Rajiv Menon. Having directed Minsara Kanavu in 1997 and the subsequent Kandukondein Kandukondein in 2001, it is after a hiatus of almost 18 years that the director is back to making movies this time with a heavily music-based one called Sarvam Thaala Mayam.
When did the passion for arts begin?
“After studying in the Tamil Nadu film institute, I was specializing in working the Steadicam, an invention of Garrett Brown who went on to win an Oscar for his work. I trained under him and it totally altered my perspective in life. In western countries, you don’t do something unless you can give the best work possible for it. I want to be the very best at what I do and thus it began my conquests with cameras.”
Would you consider yourself a jack of all trades when it comes to the camera?
“I don’t think I am even up to the level of Jack. I would consider myself a student as I am eternally learning. There is no such thing as mastering an art. I think, there is always so many new things coming up that you will have to keep updating yourself all the time. When it comes to visual mediums, I give it that space and invest in observing. I let myself live the moment when I am taking a picture as well so that I am learning. I think I owe it to myself to schedule that time to learn.”
I am not one to play by industry rules. Whatever I am, whatever I like it shows in my work. If people are tagging me as classy instead of commercial because of it, I accept it with all humility.
What’s your equation with Mani Ratnam and AR Rahman?
“Mani is the one who motivated me to try my hand at direction. A lot of what I am, I have learnt from him working on Bombay, Guru and so many more. I think the love for trade has kept him on the top of his game for so long. AR, on the other hand, he has been consistently breaking new ground in terms of music. His adaptability in terms of advancements in musical equipment is what keeps him at the top spot even now. The best part is, he is so modest you can tell him if you are not happy with something he has worked on. He will strive to be better. He is receptive to feedback and that is pretty great for a person of his stature!”
Why the long hiatus from the last feature film?
“When I was working on Minsara Kanavu, I had a musical in mind. It sort of became this popular movie with a cult status. The next film happened because I was exploring the romantic comedy genre along the lines of the first, so the second time I was more focused. The hiatus wasn’t planned. Believe me, I tried other projects in the midst as well but something or the other kept coming up and I was too occupied to concentrate on feature films. I was also occupied with Mindscreen Film Institute and basically teaching the trade to younger filmmakers. I was trying to find myself, get a footing and now I feel like I am better equipped which is why I started working on STM now.”
How do you give depth to characters on screen, especially for women?
“I have been exposed to strong women all my life, including my paternal grandmother who raised me. She hailed from Malabar and as far back as 1920s; she had quite the education and married at the age of 32. She gave birth to my father at 36, a revolutionary move at that time. My maternal grandmother as well, was a teacher of mathematics after having studied physics. My mother and wife as well have been extraordinary and my two daughters are growing up to be quite the badasses I hoped them to be! I don’t want two dimensional characters in my movie; I want to show a variety of angles to them all.”
Your directional style is very Stanley Kubrick-esque, was that intentional?
“Everybody knows there’s no movie like 2001: A Space Odyssey but I think I was initially more influenced by Francis Ford Coppola. I do believe that just like what Stanley Kubrick did, each frame should have a holistic picture form. When I was learning the trade, photojournalism was also on the rise. Everything was visual-oriented. But to negate a frame saying it is striving to look like a painting is like defining the former is inferior and the latter is superior. That is not true. A photograph can also be a medium of expression like a painting. I think my directional style is to bring the message to the screen without much clutter but also by using every bit of the frame, negative spaces and what-not to my advantage.”
Clearly literature plays a huge role in your inspiration…
“When it came to the script of Kandukondein Kandukondein I was heavily inspired by Jane Austen’s Sense & Sensibility. I would have liked to try my version of Pride & Prejudice too but it seemed too much of a task so switched to this instead. I love Austen was ahead of times; considering how at that time, society didn’t give women the freedom to work, vote, or even consider them as equals. She was giving a voice to strong women and telling us to respect, honour and give women their dignity back. It feels apt even now.”
I read a lot of non-fiction; My Goodreads list includes Aravind Adiga’s White Tiger and Cuckold by Kiran Nagarkar. I love collecting paintings as well!
Tell us about your connection with music?
“I didn’t learn it formally per se but from childhood, I could identify ragas and just learn it from the environment I grew up in. People are turning organic when it comes to food, arts, and music as well. Traditional forms of music are making a comeback and people are realizing the worth of these arts only now.”
What is Sarvam Thaala Mayam about?
“It is about the young; a young man and his journey towards establishing himself as a musician. It is the story of an underdog but what I wanted to bring out is the frustration of the youth in a still backward society that discourages more than encourages. I wanted to show this with real people, real musicians which is why GV Prakash was the first choice. This film will be universally relatable, no matter the walks of life, region, or profession.”