Award winning filmmaker Himanshu Khatua delved deep into filmmaking soon after his professional education. His maiden venture Shoonya Swaroopa (Contours of the Void) received the Best Feature Film in Odia at the 44th National Film Awards, 1997. Another story Kathantara also bagged eight major State awards as well as the best feature film in Odia at the 53rd National Film Awards, 2006 and graced numerous international film festivals all over the world. His other feature films and documentaries on varied burning issues have immense depth and analytical prowess that earned him critical acclaim from various quarters. His film Krantidhara is now getting popular among the cinephiles. The movie has been screened at several international film festivals and was hugely appreciated. It got rave reviews for portraying issues of women empowerment.

Presently, he is the Chief Executive Officer looking after School of Film and Media Sciences, School of Fashion Technology and School of Mass Communication at  the globally-known KIIT University, Bhubaneswar. He spoke to Sefali Suman on his films and life.

From sound engineer to film director; how did you get motivated to get into the film industryIJ

I never thought about cinema seriously. While studying in Film and Television Institute of India (FTII), my outlook was changed. I developed an interest in cinema there. For a profession I entered into that institute to study on sound engineering. Depending on direction course, we were not sure of eking out a living. That is why I preferred sound engineering course. But that institute changed my career. I got inspired after seeing films of good directors. An urge came to direct film and I felt a spark within me as a director and got motivated. I went Mumbai to start my career as a sound recordist, but I didn’t like metro life. I came back to my place and associated with my friend Sushant Mishra’s film Indradhanu ra Chhai as a co-worker. Then I made Shoonya Swaroopa, my debut film. I joined the Biju

Patnaik Film and Television Institute of Odisha for a brief period as well. I came across Kadambini media and made a film under them.

How would you characterise the journey of Odia cinemaIJ

The early years of cinema from 1930s to 1950s were at a formative stage. Then slowly, adaptation came into film industry. Most popular films have been made from 1970s to 1990s. Golden era of Odia cinema was 1980 to 1990. When cinema education came, FTII played a major role in all the States providing good film makers and products of FTII changed the entire perspective of cinema.

Viewers’ requirements and areas of interest are changing day by day with the technology. How can you manage the direction with their demandIJ How a producer can invest money on your directionIJ

I started examining people and took interviews also. People think the ingredients of cinema are story, song, dance, love, romance, tear-jerking experience and spiritualism, which is a complete package of entertainment. But all the time this is not true. Categories of audience are different. Some films are appealing. We should experiment and I have been doing this. You can observe four films of mine are of four different types. Sometimes, people like s cheap film. People love to see good cinema also. I always try to make films to appeal every category of audience.

What challenges do filmmakers face in OdishaIJ

Filmmaking is an expensive method and a complex art. If we think about other art forms, that is very simple. For a poet, he needs a pen and a bunch of papers and a painter needs a canvas, some colours and pencil.

For a filmmaker, huge amount of money is involved and it is a very complex art form. To raise fund for making a film is a major problem here. We are also facing problem in marketing and promotion of the films.

literature is a powerful medium like the cinema. We can also create social awareness through cinema. Whether this type of films should be made in our industry instead of cut-and-paste moviesIJ

Yes, these types of films should be made here, but it needs experiment. Most of the directors of our film industry don’t like experiment because it has risk. (But) An experiment sometimes clicks.

How did the idea of Krantidhara come to your mindIJ Whether the story inspired you or what happens in Panchayat politics motivated youIJ How was the journey of making this filmIJ

For a film, the writer and director should have similar thought. Pati Sarapanch concept was in my mind earlier. Then I found Iti Samanta’s story Jhada Parara Surya. Both the thoughts synchronised. I prepared the script in a week. Then I went on searching the location and journey started. In a workshop mode I made the film. Artists were enjoying it. In the process, I found people’s participation. In the course of filmmaking, I found some artists from the locality where the film was shot. They are not actors, but they came forward and became successful.

How can you reflect the thought of a writer exactly in the filmsIJ

It was argued that serious books cannot be made into films as originality of the book is lost.

We give visual form to the imagination of a story writer. We have to create the feelings with audio and visuals what is thought of in a book. Cinema is concrete whereas literature is abstract. A single piece of literature can make 100 films. The writer and director should have similar thoughts. Then adaptation can be possible.

Spiritualism, politics and socioeconomic issues reflect in your films. Which is more relevant to the societyIJ

All are relevant to the society. Thing is how we are portraying it.

How do you spot talent in actorsIJ

Every actor has talents within him/her. We have to handle them properly. I have made the film Krantidhara in workshop mode. At the time of shooting, actors learned many things. Actors are very flexible in learning. I always try to mould them into the characters. If we are able to do it, then 50 per cent job is over.

Except a very few directions, why qualitative and artistic films are not made in OdishaIJ

Promotional policy for good cinema is missing in Odisha. We also do not have a film viewership policy.

What’s your favourite film on direction basisIJ

It is a question like asking a mother to choose one child of hers. Still, my first love is Shoonya Swaroopa; lots of emotions are there in this movie.