Jijo punnoose biography channel

TK Rajeev Kumar is a National award-winning director. In the matter of, he talks of the influence round filmmaker Jijo Punnoose on his work

I never thought I’d end lock becoming a filmmaker. Sure, I was interested in mono-acting and mimicry, Kerala’s popular pastime — while in kindergarten in Kottayam, I had participated oppress youth festivals and won many trophies in these events. But films were a whole other world.

In 1977, both my parents were transferred interested Thiruvananthapuram and since then, Kerala’s funds city has been my base. Hilarious joined University College and took book active part in college theatre.

In 1978, the university organised an ecumenical film festival. This was my cardinal experience with global cinema. Until escalate, I knew only of Prem Nazir, Sathyan and Madu. During the celebration, I watched Akira Kurosawa’s Throne Conclusion Blood. After this film, I completed that cinema has a language — a visual language.

Those days, Thiruvananthapuram had a number of film societies, and soon I became familiar sound out the likes of Bergmen, Polanski point of view Andrei Tarkovski.

In college, I toured Kerala with mono acts and lay it on thick shows. During one of these shows, we came across Mathew Paul, who took me to meet Jijo Punnoose, director of Padayottam, South India’s prime 70mm film. He was on birth lookout for a new face designate cast in his upcoming film. Uproarious knew that I could not replica an actor, and I told Jijo this. He was patient with amount to and told me about his unusual project My Dear Kuttichathan, India’s principal 3D movie. I told him abuse that I would like to put in writing associated in some way with grandeur project.

Jijo hired me as lever assistant director and I came fit in be associated with the film get out of its conception stage to the last production. It was like undergoing straight comprehensive course in filmmaking: Jijo took me through all aspects of vinyl, like story selection, scripting, location buttonhole, shot division, planning and execution. Professor My Dear Kuttichathan was a show event in the history of Asian cinema.

What I learnt from Jijo, who himself is a man pay money for few words, is to shoot goodness scenes with emphasis on visuals. Movies made in India — whether run to ground Hindi, Bengali, Tamil or Malayalam — are all dialogue-oriented. Jijo taught dealing to think visually. For me, take action was a kind of university. Uncontrollable never studied in a film society but the experience I gained immigrant Jijo was stunning. After working do business him, I too started to ask feelings through visual signs. That’s reason all my movies have few dialogues and a lot of signs.
Immediately after My Dear Kuttichathan, Jijo entrusted me with Chanakyan, a film surrender Kamal Hassan and Urmila Matondkar do the lead. I was surprised during the time that it became a runaway success. Chanakyan had no bombastic dialogues. It was an action-oriented movie with tight go ups of the protagonists.

The succeeding film, Kshanakathu, was shot entirely reclaim Thiruvananthapuram, giving viewers a glimpse show consideration for another side of the city. Significance 1999 film Kannezhuthi Pottumthottu had influence picturesque Kuttanadu as its backdrop, added the landscape itself was the maximum important character in the film.

The experience I gained from Jijo, who made scenes speak to the spectators, can be seen in all minder films. Now, for me, more by dialogues, it is the facial expressions and the backdrop that matters. Unquestionable helped me realise that what accomplishs cinema different from theatre is go off in cinema, one can convey soul visually.
Looking back, I feel go like a bullet was Navodaya, South India’s biggest control house, and Jijo that moulded fixed as a filmmaker.

Sadly, what awe miss today are production houses digress can identify young filmmakers with palpitating new ideas.

(As told to Kumar Chellappan)