When two terrific film makers SS Rajamouli and Krish sit together for a little tete a tete, the only contemporary subject fits for discussion can be Gautamiputra Satakarni.
While media popularized this meeting as Rajamouli’s interview with Krish, we better call it as Rajamouli and Krish’s inner view on GPS. Thus the dialogue begins.
RM: I have a confession to make before Krish. Though I admire him as director for his sensibilities shown in past films, I considered his association with Balakrishna as bad combination because Balakrishna is a mass hero while Krish is master at delicate emotions. But, he proved all of us wrong delivering a blockbuster and biggest hit in Balayya’s 100 film career droving the film close to $2M in USA.
As an academician, I do not have minimum knowledge on Gautamiputra Satakarni or Satavahana kingdom. With very little information available about this king in the form of Nasik inscription, what made you passionately desperate to make this film?
Krish: Yes, the information about Gautamiputra Satakarni is scant. But, about Satavahanas there is vast data accessible in Megasthenes Indica, Vishwanatha Satyanarayana Andhra Prashasthi, Veligonda Srinivas historical fiction novel Sravani, historian Krishna Shastri’s research pages, Maharashtra Gazette, Kannehashila in Tamil Nadu, Acharya Nagarajuna’s Suhrullekha or the recent excavations at Kondapalli, Kotilingala, Peddabankur revealing about Satakarni greatness.
I wrote down my preliminary points or notes needed for script and dramatized it with fiction giving a cinematic treatment. Every filmmaker adopts the very same procedure.
Yes, there are possible contradictions to arise when more books or more research material is read. But, I took only few testimonies which strongly stimulated me to believe that Gautamiputra Satakarni is our Telugu pride. He performed Rajasuya Yagam, started the custom of prefixing mother’s name. What more does a filmmaker need to portray the greatness of a Telugu king?
I gave my best attempt incorporating the Satavahana administration or people living style into the script which may not be enough material for others.
RM: You aren’t doing a documentary. This is purely a cinema and you have to narrate story with drama and commerciality. You endorsed a right choice but how was it possible to wrap such a mammoth project in 79 days?
Krish: (laughs loudly) First you tell me why Kattappa killed Baahubali and I will reciprocate you how I made GPS in 79 days. (Jokes apart) Our budget, time period and planning did not allot more than 79 days. Our day work used to start at 6 or 7am and used to end at 10 or 11pm. Sometimes, we struck to schedule performing duties for 15 to 16 hours.
Best suggestion which worked in our favor is given by you (Rajamouli). I remembered your recommendation to cut down the graphics time to possible minimum and make the maximum best use of live action.
So, I divided my project into four parts. First in Morocco is the war with Nahapana. Second is the naval war shot in a setting erected in Hyderabad, third is Georgia’s fort battle and the last is India’s portion in RFC, Maharashtra and Madhya Pradesh. Underlying the three battles, there are strong emotions which audience liked today.
One year back, I worked with the same team, wrapped Kanche in 54 days. Then I realized that 25 days more can make my dream of Satakarni true because I am fascinated with GPS idea from 2011. Real happiness lies in that when your plan works our wonderfully. I felt that real happiness after completing GPS because it’s a collective team effort.
RM: Who was your principal designer of the whole project?
Krish: I worked as a CEO for this team. I feel I am good at organizing the teams. So, lion share of success credits in GPS should go to my cameraman Gnanasekhar, writer Burra Sai Madhav, art director Bupesh R Bhupathi, colorist Nilesh and VFX coordinator Rajiv Rajashekharan.
Gnanasekhar’s impeccable imaginary vision helped in easing the shooting process. His lighting patterns gave the depth and periodic look. We haven’t kept any filters in generating the historic flavor. Our colorist Nilesh and Gnanasekhar have got excellent chemistry.
Burra Sai Madhav’s writing language bought inherent grandeur to the film. A glance at scene paper or reading dialogues in it used to excite the team pushing us to capture the essence urgently and energetically.
Bupesh R Bhupathi’s art work in manufacturing warfare weapons, shields and other properties helped great deal.
RM: As a filmmaker, I try to forcibly join my story with engaging screenplay because I feel that story and screenplay are two poles apart. For me story means writing of scenes based on emotions but screenplay is the narration graph which engages audience dis-respective with story. Vastly experienced distributors suggest us to heighten the emotions at regular intervals because they are unworried with your story and its flavor. It is a director’s responsibility to coagulate their needs and public demands.
I found a perfect graph in GPS where story and screenplay mutually went hand in hand. Best example is the second war episode when queen mother Vasishti Devi sends his little son to war field. A director’s major success can be appreciated in such scenes. Aren’t you really petrified with three war episodes?
Krish: For me, there’s no way left to escape from these wars because I wrote these wars on a strong emotional footing. First war comes when Buddhists complain Rajamatha about their son (Marana Homam) and it is a naval battle. Second war in fort backdrop comes with child and wife sentiment. Third war is an open battle with a different setup where a group of armies fight together united in spite of their missing leader. For me wars lied in the background because there is a strong emotion formulated in the foreground.
Any hero other than Balakrishna as warrior emperor, I might have worried with wars. Thankfully, a scintillate Balayya made my job simple. He gave a settled performance highlighting the sentiment of a son, husband and anger of a warrior emperor. The way he changes body language depending on scene drives you go crazy.
Real secret behind GPS shot in 79 days is, I got three amazing artists in Balakrishna, Shriya and Hema Malini. Their synchronization with each other made GPS a great experience for me as director. Great writing and impeccable acting by three big artists without egos finally made the GPS.
RM: Your brilliant team work is re-sounding today in theaters. We also heard about Balakrishna’s accident?
Krish: It was in Morocco when a bomb blasting went wrong and horse Balayya garu was driving went out of control, he fell on ground. But, this man is a true professional. In one hour, he came back to shooting spot and we went forward. From the first day of shooting, Balakrishna garu behaved like a Satakarni and lived into the character. At this age, his dedication and sincerity amazes you and inspires everyone to work more. He is an energy booster for whole team.
RM: Final word, sir you made a film all the Telugu audience will feel proud of. Congratulations and we wait for your Vasishtiputra Pulamavi.
Krish: For now, my alacrity with historical genre is fulfilled with GPS. I will take a break with other stories. Whenever I feel it’s a right time to comeback I will surely try one more historical.
Krish and Rajamouli sign off.