Your debut feature Ghatashraddha (1972) was based on U.R. Ananthamurthy (URA)’s novel. Has he continued to influence you?
Yes, many from my generation have been deeply influenced by him.
How did you approach this work?
There are conventional biographical documentaries on him already. I was more interested in capturing the essence of URA’s vision of life and society—not just his fiction.
Explain the title: Ananthamurthy—Not a biography...but a hypothesis?
I have structured the film as a quasi-fictional, semi-personal take on how I see his multi-faceted personality. Hence the caveat!
What about the enactment of scenes from URA’s fiction, even animation?
His prose is very poetic, whereas he fills his poems with ideas. I tried to convey this.
URA’s clarity in self-analysis (despite failing health) must have been an advantage to you?
Absolutely. He can express complex concepts in simple terms without using jargon.
What about URA’s controversial views on the primacy of Kannada as the state language?
He has been vocal on the complex politics of language but never supported linguistic chauvinism.
Is Gandhi still an ideal for him?
Yes. But he mourns the reductionist approach to Gandhian ideals in the era of globalisation.
Recently, he said he would quit India if Modi became PM, and then retracted. Your take?
We shouldn’t take it literally but as a criticism of certain models of development which don’t augur well for India’s plurality.
Do such documentaries find an audience?
While some independent documentaries in India are world-class, it is sad that we have few avenues to screen them.
What’s next for you?
A documentary on Adoor Gopalakrishnan.
