In an exclusive interview, Rishabh Shetty reveals how ‘Kantara’ came to be, how he trained for the now-iconic Bhoot Kola performance, and more
In an exclusive interview, Rishabh Shetty reveals how ‘Kantara’ came to be, how he trained for the now-iconic Bhoot Kola performance, and more
Actor, writer and director Rishabh Shetty says, “The more roots a story takes, the more universal it can become.” mystery-hit KantarasStill works for audiences who are not aware of its cultural and regional roots. In KantarasIn this book, Rishabh goes back to his roots in coastal Karnataka and tells a story that connects nature, humanity and the divine. Folklore, traditional practices, and regional beliefs take centre-stage, and Rishabh’s performance as a man near the half-deities Panjurli and Guliga has become a topic of discussion. Interestingly, the actor believes that the reason for the film’s existence and success also goes to these divine beings.
welcome to Kantaras It has been so, that even before the release of the dubbed versions of the film in Hindi, Telugu, Tamil and Malayalam, the title became the highest rated Indian film on the IMDb platform, surpassing the likes. KGF: Chapter 2 And RRR, Excerpts from a conversation with the actor, who was in Chennai recently:
Congratulations on the success of ‘Kantara’ Where did the idea for this project come from?
I have always believed that a film makes itself and we are just tools. During the second lockdown, I thought of a real incident that happened between a farmer and a forest officer; It was not just a clash of egos, as they represented two different things. A forest officer representing nature – who turns out to be the character played by Kishore – and a village man in the forest who represents humanity, our hero, Shiva. The latter is the one who does not care about the rules of the forest department as he is only concerned about the livelihood of his people, which is based on agriculture.
This man hails from my homeland in Coastal Karnataka, where the rituals of divinity and religious practices around deities are prominent. There, we believe that there is a certain divine energy in the land. I began to wonder how such beliefs about gods are are prevalent throughout the country. For example, in Tamil Nadu these deities are called ‘Kaval Devangal’. I believe that the more rooted a story is, the more universal it can become, and so one can relate this story to ideas from one’s own local beliefs and surroundings. Bringing all this together, I wanted to tell a story about co-dwelling, and how such gods are a bridge between nature and humanity.
Rishabh Shetty as Shiva in ‘Kantara’ | photo credit: special arrangement
do you agree that Should films with religious themes be made in a certain way to attract a younger crop of audiences? ‘Kantara’ is a commercial entertainer and not an arthouse film, per…
Yes, because viewers watch movies and pay only for two and a half hours of entertainment. As long as they also provide entertainment, the producers can say whatever they want. Even if you tell a serious story, you have to make sure that you get the audience to the edge of their seats.
These themes rooted in culture can sometimes overwhelm the audience. How important is it to strike a certain balance between what to tell and what not to tell?
Yes this is true. There should be something in your film that makes the audience think. This is how you create a buzz outside the theatres. Also a common man should understand what you are trying to convey or else the reach of the film will be limited.
In addition, it is also important to understand that you are not smarter than the audience because they are more updated about the art than you. We are already telling old stories; I mean the idea behind this film itself is a year old and I am showing that story on the big screen only after a year. This is why I go for original stories as they are not easily available to everyone.
Kannada films like ‘Kantara’ and ‘Garuda Gamana Vrishabha Vahan’ have been well received by the audience in other states as well. What do you attribute to the popularity of this post-‘Baahubali’ resurgence of South Indian films across the country?
Earlier cinema was the only means of entertainment for the people. Even after television entered the picture, cinemas retained some power, but now we are talking about streaming platforms as well. Since viewers now have more options for entertainment—which should be as simple as a viral YouTube video, not a movie—the stories need to be universal and cater to everyone.
But that does not mean that the film should be made on such international standards. It must have roots too and this is one of the major reasons why South Indian ingredients have now become popular in the North. Since Bollywood is now following a set pattern, churning out a specific type of commercial entertainment, South films that are rooted in their culture are being appreciated.
Writing a screenplay like ‘Kantara’ requires a certain conviction because even though we know what awaits us in the end, it leaves you stunned. In another film, we would get red earrings to get out of the way. Where did you get that confidence?
I believe in the divine energy present in nature, which I believe is the purest form. Therefore, my faith in everything I do comes from my firm belief in the subject. We know that the half-god would possess Shiva; It appears and warns him every time he makes a mistake. But the leadership for this must be systematically established. The prophecies that the gods and goddesses in the beginning are a tool that help in this, but what happened later was not in my hands. The only thing that was not on paper was the climax sequence that people are craving about. It was only present in my head. I started it, and then the gods took it to the end.
Your acting is going to be highly appreciated during the Bhoot Kola performance, be it the expressions or that unique scream. How did you train for this?
We had a Ghost Cola artist guide us throughout filming, and I even watched videos of the performances. I visited the place where they perform cola, and I saw how they do it there. This is a sensitive subject and hence it was important to fix it.
A still from ‘Kantara’ | photo credit: special arrangement
Music is a big backbone of the film. How did you get such tunes from composer Ajneesh Loknath?
Even when I was writing the film, I was clear that we should bring folk music to the fore. We brought in real folk artists for the recording. In fact, we recorded all the songs in an open-air theater in Mangalore, where musical groups playing folk instruments like Korga Ke Dolu, Huli Kunitha Dolu, Thaase, Nadaswaram and Chanda usually perform. We captured the tiniest of details, and then programmed it with Western tools to create a fusion that elevates the cinematic experience.
‘Kantara’ has a lot of dialogues in Tulu language; Have you thought of making a direct Tulu film?
Yes, I have no problem in making such a film. For now, I want to make Kannada films because it is the Kannada film industry that has given me this life. But Tulu is also another language that is spoken in my state, and it is also the language of the country I live from. So, if given a chance, I will make Tulu film.