One is always looking to find answers through one’s work. It’s about things that haunt me, even though I am not in this field and I haven’t grown up practising any discipline with this sort of rigour.
‘What am I doing?!’ Why did I decide to do this?!’ĭid this feeling of being lost and wanting to find yourself make you soldier on?Ĭhaitanya: Yes, yes. ( pauses) I don’t mean to exaggerate, but I have wept tears of blood out of fear and anxiety! ( Laughs) I had this huge nervousness and the feeling of being lost. It’s all very exciting in the beginning when you have no agenda and you are soaking it all in, but the minute you have to start committing and refining it and exercising economy to start moulding it into a script, it becomes.
But then four years ago, I found myself helplessly obsessed by a story that surrounded that world and I started experiencing that genre of music for what it is and when I started separating its nuances and the contradictions and the complexities, it all became very exciting and very fascinating.īut yes, writing the script nearly killed me! ( Laughs) It was so daunting, it’s an infinite ocean. In my early 20s, I actually had a bit of a problem with the extreme reverence and the concept of complete submission and blind faith that surrounds this field.
Wasn’t it scary to venture into a hitherto unknown territory or did the challenge actually lie in plunging into a world you knew so little of?Ĭhaitanya Tamhane: I didn’t even have a working knowledge of Indian classical music. Ahead of the film’s premiere on Netflix this Friday, The Telegraph caught up for a freewheeling chat with Chaitanya Tamhane and producer Vivek Gomber (who has also featured as an actor in A Suitable Boy, Sir and Bombay Begums) on the ethos of The Disciple, what keeps their collaboration going (they also made Court together) and the lessons learnt from Alfonso Cuaron.Ĭhaitanya, you reportedly had only a superficial understanding of Hindustani classical music before you started writing The Disciple.
0 kommentar(er)
