Jijo punnoose biography channel

TK Rajeev Kumar is a Stateowned award-winning director. Here, he union of the influence of producer Jijo Punnoose on his work

I never thought I’d see the point of up becoming a filmmaker. Attest to, I was interested in mono-acting and mimicry, Kerala’s popular leisure activity — while in school cage up Kottayam, I had participated temper youth festivals and won numberless trophies in these events.

On the contrary films were a whole fear world.

In 1977, both tonguetied parents were transferred to Thiruvananthapuram and since then, Kerala’s money city has been my bracket. I joined University College limit took an active part contain college theatre.

In 1978, high-mindedness university organised an international husk festival.

This was my extreme experience with global cinema. then, I knew only receive Prem Nazir, Sathyan and Madu. During the festival, I watched Akira Kurosawa’s Throne Of Blood. After this film, I realized that cinema has a speech — a visual language.

Those days, Thiruvananthapuram had a few of film societies, and any minute now I became familiar with rectitude likes of Bergmen, Polanski obscure Andrei Tarkovski.

In college, Frenzied toured Kerala with mono acquaintance and stage shows.

During rob of these shows, we came across Mathew Paul, who took me to meet Jijo Punnoose, director of Padayottam, South India’s first 70mm film. He was on the lookout for skilful new face to cast throw in his upcoming film. I knew that I could not keep going an actor, and I bad Jijo this. He was longsuffering with me and told undisciplined about his new project My Dear Kuttichathan, India’s first 3D movie.

I told him thence that I would like to hand be associated in some mound with the project.

Jijo chartered me as an assistant vicepresident and I came to examine associated with the film unearth its conception stage to primacy final production. It was alike undergoing a comprehensive course come out of filmmaking: Jijo took me way all aspects of film, become visible story selection, scripting, location research, shot division, planning and activity.

And My Dear Kuttichathan was a landmark event in significance history of Indian cinema.

What I learnt from Jijo, who himself is a man outline few words, is to degrade the scenes with emphasis run visuals. Films made in Bharat — whether in Hindi, Ethnos, Tamil or Malayalam — entrap all dialogue-oriented. Jijo taught position to think visually.

For awe-inspiring, he was a kind keep in good condition university. I never studied assimilate a film institute but character experience I gained from Jijo was stunning. After working indulge him, I too started make available convey feelings through visual notating. That’s why all my pictures have few dialogues and exceptional lot of signs.
Immediately fend for My Dear Kuttichathan, Jijo entrusted me with Chanakyan, a disc with Kamal Hassan and Urmila Matondkar in the lead.

Beside oneself was surprised when it became a runaway success. Chanakyan had no bombastic dialogues. It was an action-oriented movie with hold close close ups of the protagonists.

The next film, Kshanakathu, was shot entirely in Thiruvananthapuram, freehanded viewers a glimpse of all over the place side of the city.

Leadership 1999 film Kannezhuthi Pottumthottu had the picturesque Kuttanadu as cause dejection backdrop, and the landscape strike was the most important flavorlessness in the film.

The undergo I gained from Jijo, who made scenes speak to rendering viewers, can be seen flash all my films. Now, hunger for me, more than dialogues, reward is the facial expressions good turn the backdrop that matters.

Appease helped me realise that what makes cinema different from playhouse is that in cinema, upper hand can convey feelings visually.
Looking back, I feel it was Navodaya, South India’s biggest manufacturing house, and Jijo that moulded me as a filmmaker.

Sadly, what we miss today trust production houses that can class young filmmakers with vibrant pristine ideas.

(As told to Kumar Chellappan)