Break Between Schedules

After having completed our first schedule we were much wiser and experienced than before. There were mistakes that had been committed and measures that needed to be taken before we launched into our second schedule.
We were to shoot from the 9th Dec'08 to 20th Dec'08. Of the same we were to complete our Mumbai shoot by the 16th Dec'08 and then had one day to travel to Kolhapur i.e. the 17th dec'08 and then shoot the last three days of the film namely- 18, 19 and 20 Dec in Kolhapur. That would be the end of shoot.
We had shot 69% of the film and major action sequences. The second schedule looked simpler but there were certain creative changes that had to be inculcated before shoot began.

We have three songs in the film and had shot for a half of one song in the first schedule. We now had two other songs had to be recorded and 2 and half of the songs were to be shot in this schedule. By normal Bollywood standards 2 and half song would mean 7-8 days however this was a different world. We did not have that liberty and hence our planning and scheduling was in full gear.
Uttung was attending sittings with our lyrics writer- Girish Salvi and Music Director- Sanjeev Kohli to get the songs in place. Girishji who is primarily an actor and an extremely well read individual was Uttung's choice as a lyricist. Uttung had extreme faith in Girishji, however only after the songs were written did all see what Uttung had seen much before any of us. The lyrics were magical and apt for every mood and feel.
Meanwhile I was into checking the records that we had kept in terms of continuity and our requirements for the future schedule. The costumes had to be lined up, the art guys needed to be briefed, studios needed to be booked for one of the songs and idea had to be come up as we had now altered our title song so as to enhance the narrative and visual appeal of the film.
Most importantly- editing of the first schedule had begun! Our film was to be edited at a studio in Gorai and hence follow ups in terms of Telecine(Digitising the film) and Grabbing had begun.
A lot of things that seem trivial at Shooting and are brushed aside seem suddenly very important while shooting...conitnuity sheets, clap, a retake etc etc...It helped that we had a director who edited the film in his mind at all times and hence we did not ever get the frustrating feeling of- "We should have shot that or taken that angle too". I assembled the first rough line up on the basis of shot taking and Uttung took over from there on.
The days seemed to run away swiftly and before we could realise we were one day away from shooting and our first song of the film of which we were to take some shots on the first day of the second schedule was still not recorded!
Tomorrow we were to shoot at a Library in Lower Parel, take some candid random shots on the road and then shoot at the Parel ST stand at night.
It was going to be adventorous!

Fighting fate and wrapping up the Bank

The wheels were in motion and the i heaved a sigh of relief each time i ticked of a sequence from the to do list! We needed crowds to pose as bank account holders on the set, however bringing in new junior artists would have added to the expense of the film hence a novel idea was decided upon!

The producers decided to ask their friends and family to come over to the sets and witness in close proximity, a shooting of a feature film! Thsi would satisfy their urge to be on a film set and we would get a respectable crowd that we were looking for- at no additional expense! Sounded good but there were two problems- one was the consistency at which people would turn up and second was whether they would have the patience to hang on the set all day long doing the same thing again and again!

Somehow we were pulling through and the shooting was progressing.



It was on the third evening i.e on 12th April'09. We were going to shoot the sequence which would be the introduction shot of Sanjay Narvekar in the film. From the begining we had planned this to be an eloborate sequence not only because he has a star value amidst the Marathi audience but primarily because the story had him playing a flamboyant character and the entry would have driven in the point!

We were behind schedule and the shots had already been altered...all the same they still needed speed and sleek execution. I was standing right in the middle of the set pushing the crew to speed up when my cell rang.

The caller was a very respected gentlemen who has never called me over the last two years that I've known him. His voice shivered as he asked me where i was. I knew something terrible had happened.

As it turned out it was a car accident. This gentleman whi himself is 45 years old was travelling with his 62 year old sister in a cab towards Mumbai Central railway station from where they were going to take a train for Delhi. His sister died on the spot as the tempo smashed into their taxi and he himself had suffered some multiple fractures...Can you come, he asked!!!

Everything froze- we film makers visualise our lives too as a motion picture and as such i could see myself being filmed with a round trolley on a three axis camera! I could feel the dryness in my mouth and there was no energy that would carry me close to uttung wherein i could inform him as to what had happened.

Finally when i did tell him, he reacted just the way i knew he would- extremely calm, warm and understanding. the man with the disheartened feeling of having changed his shots for an important sequence and who was running behind schedule for no fault of his could have easily been irritable or upset on hearing the news! However he placed his hand on my shoulder and asked my calmly to be safe and hurry. I had no choice. I did just that.

However on the way i called up a couple of friend who i thought could assist Uttung that night but they were busy and far away.

Finally on the last day at the bank we were on schedule and in control. By all that was lined up it seemed we would have an early pack up. But alas...

One of our actors was coming over after wrapping up another shoot and he got stuck causing three and a half hour of delay!! Wow! We were back to pushing and running...

It turned out to be the usual critical and border line day and as usual we finished what we planned. There is always room for more but there is also something called as being realistic!!

On that count we were doing great...tomorrow we were heading back to Goregaon to can the preinterval sequence which we could not shoot earlier due to technical snags!!

DAY ONE AT THE BANK- 10TH NOV'09

I wasn’t as nervous on the first day of shoot as I was on the morning of 10th Nov’08. I was worried because I was not sure how so many artists were going to be handled. Unlike some people who don’t give as much credit to the background artists, I have always believed that if you make them feel you are taking care of them they do a better job. Besides, personally I’m a stickler for organization and hate when things are left to be discovered and handled as and when the time comes.

That apart I also knew the pace that we would have to maintain if we were to finish the climax portion planned today and some other sequences. No delays were to be allowed at any cost.

We were shooting in the normal shift i.e. 9.00 a.m. to 10.00 p.m. by now I had understood the pace of the unit and was hoping that the first shot was to be canned by 11.00 which by regular standards was going to be demanding and add to that the crowd that we had on set that day the task seemed humungous!
Hence I almost fainted when our DOP- Prasad Bhende- was unhappy with an entire wall being orange and asked it to be painted white! Although he was only doing his job and would eventually be in the interest of the film, I had my reservations regarding the timing of the suggestion! However it had to be done. It had to be done!

The wall being painted meant that we had to avoid that part of the set where the painting was in progress and thus the shots were redesigned! On my part all the artists were present and ready by 11.00!
Our action directors- Kushal and Moses- had started designing the sequence and the actors needed in the first shot were on floor getting their rehearsals right. We finally rolled around noon.

As expected the sequences were demanding and taxing. However the action masters had got into the groove and with the artists being of the repute the pace was fast. All the same by the day’s end we could only can the entire climax. I had expected that and had convinced myself that beyond a certain point I’ll have to accept where we stand and keep moving accordingly.

Every time I realized I could unreasonably create an issue I would look at Uttung and seeing him composed and focused I knew the fight was on and I had to stand and deliver subtly but effectively.

However the most important part of this day was that I realized getting the background artists ready was not going to be an issue. It was only the artists’ continuity and art and props that will need attention. Besides the toughest sequence had been canned.

The next 4 days were going to be something we had grown used to by now.

However not in my wildest dream did I foresee that I would I have to leave the set and go when one of the most important sequences of the film was going to be shot!!

Why?...fate!

THE JNBC BANK, VISAGE STUDIO.

From the very beginning when the film was in its "talking stages", Uttung would often mention the bank! He knew this was going to be the most non-compramisable location of all the locations in the film.
The script was conceptualised and written with the thought that not only is it creatively enchanting and believable but also economically feasible. Thus keeping the above factors in mind it was going to be very tricky for us to get our bank!
The search took us to various subarban studios(within the ten days that we had before we began shooting!!) and also to certain banks which we were told we could shoot in but of course only at night!!! All options were considered. I even went to check out a bank pretending to be a customer and was relieved to reject it within 30 seconds on account of its space or rather- no space!
Finally we locked the location we had seen before any other- VISAGE STUDIO, JOGESHWARI-WEST. The floor was that of an office. The furniture had to be moved around to make it look like a bank. Counter Tags had to be created that would hang from the ceiling...passbooks and other bank stationery had to be arranged...but most importantly the name of the bank and its logo design and color had to be finalised!!
There was no time to ponder, the first thing that came to my mind was JNBC!!...not many have guessed but its from the fact that we were doing a BHARAT JADHAV-SANJAY NARVEKAR starer and hence JADHAV NARVEKAR BANK CORPORATION!!
Prashant Rane our art man got some logo designs and keeping with my tradition i went with my gut instinct and chose one which Uttung too approved. Orange and White was to be the bank color.
Now all of this was on paper!! It remained to be seen how much of it would be done on the morning of 10th Nov when we had to begin shoot...
However call it blessing in disguise or a day gone waste for we had to cancel the shoot on the 9th and hence got to be at Visage studio, the whole of 9th to push the art department. Work was on in full force and while we worried about it completing on time, there was one major concern... The first day the location tomorrow...we were going to have around 8 secondary characters posing as the bank staff...there were going to be 10 more people posing as customers...our two main lead actors plus Girish Salvi and the senior most- Satish Pulekar along with fighters as we were going to shoot the climax action sequence!!!
Ideally we did not want to start with such a heavy day but then film making is crisis management... we did not have the dates of certain actors in combination and had to take the gamble!
So what waited for us on the morning of the 10th was- A NEW LOCATION, AN ACTION SEQUENCE CLIMAX, AROUND 25 ARTIST AND THE EVER PRESENT CRUNCH OF TIME!!
all i could hum to myself was....attapitta...attapitta...attapitta....attapitta!!

The First Action Sequence- Goregaon west.

An action sequence is always an exciting event. It is one of the ideal instances of "the art of film making"....wherein the tricks and gimmicks of the technicians come into play.

Someone hits...someone is hurt...glass breaks...blood flows... furniture is scattered... but in fact nothing of that sort happens!...Provided of course all the necessary precautions are taken!

On our appointed day, all the precautions were taken. Mr. Moses and Kaushal were our action masters. The sequence had been worked out with them. The actors- Sanjay Narvekar and Girish Salvi- had been briefed about the sequence and we were ready.

However this was the same location wherein we were running behind schedule due to property supply delays on the first day and subsequent add ons that followed. At such times like many other, there is only one person who can be looked upon to save the day- The Director.

For, if he remains adamant and refuses to change the shot, there is nothing that anyone can do except relent and compensate the damage else where.

However Uttung did have the broader perspective on most things and likewise he decided on a one shot sequence. The camera would be hand held and will follow the artist in a marked area.

This helps save time on lighting up again and again as the actors will be moving in a certain area which is marked to them by the cameraman. However the flip side is that they need to get it right at first go since the stock/ film being exposed is wasted, if multiple re-takes of such a long sequence take place!!

Thus, the rehearsals began. A lot many times in this film I've valued the importance of good artists- Sanjay Narvekar, Bharat Jadhav, Girish Salvi, Satish Pulekar...etc have all delivered as they are known to and that's helped a lot in fighting time.

Once the rehearsals were done with, we did a camera rehearsal, after which we rolled. The sequence was canned as expected and was Okayed!

A little trivia that i cant help but mention here was my anxiousness about something that had nothing to do with the film!! ...

Now, the character that Girish Salvi portrays is a very pompous character and hence i thought it would be nice if he carried not one but two cell phones in his hand.

At the moment when i thought about this we were shooting in Worli and the closest phone i had was my own. I gave it to him!!

Now on a new day, at a new place Girishji very promptly asked for my phone while the lighting was taking place!! Although i had remembered about the phone i was in two minds because of the violent nature of the sequence and hence i whispered to Girishji that he should slip the phone into his pocket before going for Sanjay Narvekar's throat!! he very sweetly agreed with my point of view.

Although he did precisely that; in one of the takes the phone landed straight on the floor and got kicked and trampled!!!!!! The effects of which I'm enduring up till now.

As such if anyone does call me remember to cut the call from your end after our conversation is over for my call disconnect button hasn't worked since then!! :)

Goregaon-4th Nov to 8th Nov.

Three days of shooting was over.

The first three days are the most crucial for any film shoot. By then the unit gets familiar with each other and most importantly your body and mind gets used to a completely new lifestyle that consists of-18 hour work days. There is no life beyond the film set. When you leave the house, all are sleeping; when you return, all have already gone to sleep. At times despite the shooting being in Mumbai it makes no sense to go home if you are staying longer than a 45 minute travel. As such we had got into the groove now.

We had finished filming at the most demanding location- The 180 sq. ft room in B.D.D chawl ...things were only going to get comfortable from here on...so we thought!

Our next stop was at Gorgaon west, close to Patkar College. We were going to film here for 5 days. This was going to be Sanjay Narvekar's house in the film. However what we got in hand was an empty space. There was a lot of work to be done. We had the look in mind but personnel and time were our constraints. While we were completing our Worli shoot the previous day, Painting and other propping up had begun at Goregaon...we were expecting the location all ready to shoot the next day. However we were in for a shock!

The property hire guy had not delivered the property! The house of an ambitious, smart and tasteful guy(Sanjay's Character in film) was all empty and barren!!

Uttung(Director) decided there was no point in waiting endlessly...property had to be arranged, and so he sent a tempo to his place!! Most of the property you will see in Sanjay Narvekar's house in the film was brought from Uttung's house!!

We were behind schedule but we had the next 4 days to catch up!! We believed, since the location was not as cramped as the previous one we could increase the speed.

However as we reached the last day we realised that we were still behind schedule! That day we were joined for the first time by our heroine- Ashwini Apte. There was a very crucial sequence to be filmed...rain machine and thunder machine were called for.

We could not start the sequence early 'coz it required the sun to set...some shots were changed and dialogues reworked. It is often a call that needs to be taken regarding making changes to fit in a schedule, yet retaining the beauty of the content.

The sun finally did set and we were ready to begin..the rain machine was tested and so was the thunder machine but as we were about to roll the first hiccup happened. There was reverse current generated, camera was passing electric current, Lights were getting switched off.

Light men were frantically trying to locate the fault. I knew we could not finish today. I spoke to Uttung and he felt the same. I asked the still photographer to click pictures of the flat as we would have to come to shoot here after a few days since our next 10 days were already blocked.

After repeated attempts that took around 3-4 hours the problem could not be solved! We had to pack up. There were two sequences that could not be accommodated- one was between Sanjay Narvekar and Girish Salvi, while the other was this particular rain sequence between Sanjay and Ashwini. There was no point in brooding we had to keep moving come with a better plan.

It was past 1.00 a.m. when we packed up on the last day at Goregaon hence there was one more decision to take- should we keep a late shift the next day or should we cancel shoot. It was decided to cancel the next day shoot.

8 days of shooting was over...it was touch and go. We were racing at all times. A lot of creative decisions had to be altered to fit the best in whatever time we had.

Thus as of now we were to meet at Visage Studio, Jogeshwari the next day wherein we had put up our Bank set...from 10th Nov to 13th Nov we would be shooting at the bank. Large space of course but so would be the number of artists! But the fact was that- we were half through our first schedule.

(NEXT POST- ACTION SEQUENCE BETWEEN SANJAY NARVEKAR AND GIRISH SALVI)

THE FIRST DAY OF SHOOT...

1st Nov'08...
I met Uttung at his place and we left for location in his car, It was a silent drive... none of us spoke...there were a million thoughts and feelings rushing through our minds as the day had finally arrived!

We were beginning our film from a 180 sq.ft. room in Worli's B.D.D. chawl...it was the first day of a fifteen day schedule...it was the beginning of our first film...
There was a muhurat planned right outside the chawl where there was a temple. This film was also the first venture for our producers and hence invitations were sumptously extended to friends, family and other invitees along with - THE MEDIA!
We were beginning to get behind schedule as we could not shoot until the muhurat happened and some invitees/ dignitories were yet to arrive. Meanwhile the interviews had begun...i could not help from getting goosebumps when i saw Uttung interacting with the media for i knew one thing - if anyone did deserve success and fame- it was Uttung Shelar. Although he was thoroughly uncomfortable in the limelight i could see he was finding his ground as time passed...

Knowing him i knew that all he wanted to do was to start shooting but there were some formalities still pending...
However with each passing hour i was getting increasingly uncomfortable as i knew we would not complete the sequences planned for today...it was nearing 12.00 noon and we had yet to begin.
Finally with half a day almost gone, the muhurat happened...Sandeep Sawant director of India's official Oscar entry film "Shwaas" gave the clap and the camera rolled...there was no looking back now...

The first shot of the film required BHARAT JADHAV to climb the stairs towards camera and have a conversation with his neighbour - UMESH BANE- in the corridor outside his room.
There were around 200-250 people excluding some 30-4o children gathered to witness the shooting. For the area that were were shooting in, happens to be a major base for the Marathi film audience where our actor Bharat Jadhav happens to be an icon.
Thus amidst the chaos and delay the first shot was OK'd after the 4th take...Uttung had taken one more giant step in his journey as a director...the film had been taken to another level in its making process for a shot had been canned..."ACTION" and "CUT" had been called by the director...Uttung's dream was beginning to see light as ATTAPITTA was beginning to take shape.
The day ended at around 10:00 p.m., we had not finished what we had scheduled for, the day's plan had to be re-arranged taking into consideration the expected and unexpected delays.
There were two more days of shoot left at the location and we had almost 15% of our film to be shot here…tomorrow we were going to be joined by another “STAR” of the Marathi film industry- SANJAY NARVEKAR… so the crowds were going to be larger, the adjustments were needed to be more intelligent and sharp…and all the while the energy had to be maintained…14 days were left for the first schedule to complete...

B.D.D. CHAWL- WORLI SHOOT ENDS!

After the much awaited and eventful first day, the tone had been set for a schedule that was going to be daunting and challenging in all fairness! I was making sure my mental and physical stamina does not desert me at any point.

On the second day the crowd turn out was larger. The news had spread that Bharat Jadhav was shooting in BDD chawl No. 69 and the fact that Sanjay Narvekar too had arrived made matters more exciting for the dear public.

We had expected this and hence planned the second day shoot entirely indoors- on the first floor room which we had shown to be the house of Ashutosh Pawar (Bharat Jadhav) in the film. As a result we could manage a controlled shooting atmosphere.

The third day was going to be demanding. We had to take an extreme wide shot where Bharat Jadhav walks through the area in between the chawls and then chats with some boys sitting at the entrance of the chawl.

By the third day the unit had become familiar with each other…the usual frictions and bonds had started taking shape. Now for those who are unaware let me explain to you the magic of a film shoot…it is not the actors or the songs or the stunts that create the atmosphere…it is the “film unit”…the crew.

It is a very weird bunch of people who come together for the duration of the film shoot…spend most part of day and night with each other, working under pressure in harsh environments. There are people who are extremely passionate, there are people for whom shooting is an everyday affair and your project is just ‘one more day’ and there are people who are simply difficult! There is fighting…arguments…camaraderie…team spirit….everything!

As such, we (direction department) needed to capture the wide shot mentioned above in a certain manner, for which the cameraman- Prasad Bhende- had asked for a certain lens. The lens did not arrive!! We were not going to get this opportunity (to shoot at this location) again; there was only one solution- “Get the best result in whatever you have!.”

We did precisely that.

After the initial shot there was some interior work and again we had to move to the terrace of the chawl- which I must mention was quiet a daunting task!!
Considering the sunlight available and the time we would need to can the scene we had to be up there by 3.00 p.m.

At 3.30 p.m., we were still down on the road where we were to complete a sequence wherein Sanjay Narvekar comes with a car and then follows Bharat Jadhav to a point near the chawl and they have some interaction before both of them together drive away.

The crowd was unmanageable…Uttung was screaming his orders for no one could hear anything in the noise the crowd was making. The cops did little to help. I was running in every possible direction to push people out of the shooting area. I was getting very angry and was showing it too.
I believed very genuinely that no one at that point understood the importance of crowd control. I was being nasty to the production team and wanted to physically push each one of them for their lack luster manner…but that would have achieved nothing and were thoughts of a man who was in a mad rush! Temper has always been an area I’ve fallen short off.

Alas, we had to change the sequence!
It was decided that Sanjay Narvekar would simply begin following Bharat Jadhav as he exited the chawl and then meet him at Worli Sea Face!- a location at which we were going to shoot at some later date! It was there that the remaining scene would happen.

I have always believed that film shoots are all about crisis management...this was yet another instance of it.

We reached the terrace at 4:15…the sunset was going to be at 6:00. We had an hour and forty five minutes to complete a very important sequence of the film. However while we were shooting downstairs some equipment had already been shifted on the terrace.

Now, BDD chawl used to be a prison for freedom fighters during the British rule and as such the chawls are all match box structures stretched out in long rows, all of the same height and run into numbers as high as hundred and above! As we reached the terrace there were people on every single terrace…waving hands and calling names!

We began to shoot, the light was dipping fast, finally there was one shot left and the sun had packed up for the day. A decision had to be made- Do we shoot this shot somewhere else? Do we shoot it now despite the fading light? Do we change the shot?

Uttung said, “Let’s take the shot.” No retakes were possible. It had to be one go.

The camera was rolled and we canned it. The shot was Okayed and is the same one that’s used in the film…it did not look as bad as it seemed then. Risk taking is film making…at many levels.

The night had begun and we had yet to knock off an ambitious shot wherein the camera- planted on a 35 feet arm of a crane- started from a group of boys playing carom on the ground floor and went right to the first floor window of Bharat Jadhav’s room where we see him reading a book.
Fortunately by then people had lost interest in the shoot. The crowds had thinned out. We could film peacefully…as we neared pack up, Uttung asked me to run through our work list to see if we had left out anything…we had not.

At the end of Day 3 we had finished off one location and 15% of the film…our next stop was Goregaon west…it was going to be Nandkumar Deshmukh’s (Sanjay Narvekar) home and at pack up time, this home was being painted for the shoot the next morning!!

We hoped to be pleasantly surprised by our art department the next morning…

FASTEST PREPRODUCTION!

From our past experience on films i and Uttung both were used to at least 4-5 months of pre production before the film goes on floor.

For the uninitiated, Pre-production involves planning and locking your plans for the shoot on paper and in the minds of all the technicians involved. It means finalising your cameraman, art director, music director, costume designer, scouting locations and locking them, conducting auditions and locking the cast, drawing out schedules and preparing for any other emergencies that might occur.

The most time consuming part of this process is to find people with the similar vision as yours so that they understand and enhance the look that you have seen for the film.

On the morning of 20th Oct'08 we were yet to know whether the film will be made or not!! We only had on two things locked- THE SCRIPT and the DATES OF BHARAT JADHAV AND SANJAY NARVEKAR and those dates were from 1st Nov to 15 Nov!!!! We were 10 days away from those dates and still unaware.

On the night of 20th Oct'08 the project was locked. The production man was got in. after the meeting with the money people..I, Uttung and our production man- Pawan vaidya sat on the lawn outside the palatial mansion where we had gathered to lock our project. After a long silence where we all smoked in contemplation Uttung asked Vaidya, "Can we do it?", "It is difficult", he said. "But not impossible...we can do it.", i barged in for i did not want them to get too practical and too pessimistic! "Yes it can be done but..." began Vaidya. "We are doing it then!, all the best guys...we are going to make a feature film!"

That was on the night of 20th Oct'08...

The next day we stepped into our office and the war began...there was no computer or printer...my lap top came in handy...there were no chairs in office everyday some assorted furniture would come in from well wishers! we had to get the key crew and the Scott began.

We did not have large pay packets to pay anybody and we also anted them to say fast IMMEDIATELY! and yes...the last 4 days of the month was Diwali!!!! so we just had 6 whole days to prepare for a feature film which we had to shoot in 25 days flat on a shoe string budget without compromising on the creative and storytelling!!!

The hiccups began from day two itself....some people back tracked, some locations that were verbally finalised were leased out without consulting us!

We were going to begin from Worli's BDD chawl and we needed a room there to be worked upon for there was a definite look decided for it. We were two days away from the shoot when our art director backed out! We had become immune to set backs by then.

We knew one thing for sure- the harder we will be pushed back...the smarter we will push ourselves forward.

In 6 whole days and nights - the technicians were in place, locations were locked, casting was done, requirements were were ready...

I met Uttung near his building on the morning of 1st Nov'08 and we drove together to the location.

We were on our way to start making our first feature film!

A THOUGHT WAS BORN...AND SO WAS A DIRECTOR!

The thought occurred to Uttung- Director and the man behind the story and screenplay of AttaPitta- sometime in 2006 in a discreet village on the outskirts of Maharashtra. Those were the times that every director/ writer goes at some time in his life. It is a time when you have to simply wait for you have knocked on doors and entered through windows yet there is no opportunity that is allowing you in! At such times you might be willing to have patience but it is the pressure that builds around you that makes you anxious!

As such Uttung sat across a highly recommended astrologer who was predicting Uttung's life...his future...Although initially disinterested Uttuung could not help but get amused at the exact details of his past that were revealed by the astrologer and then by his predictions for the future! It was that evening when the thought occurred to Uttung...

...WHAT IF THIS MAN(the astrologer) WAS THE ONE WRITING MY LIFE???

What could i do to make sure he writes good things or how would i find out? It was a vague idea then but there was enough curiosity behind the thought and Uttung began developing it...Over two years of work- sometimes just in the back of the mind while sometimes with complete concentration-the screenplay and plot development of the script happened.

And Finally, what started as a wild abstract thought soon became a feature film- ATTA PITTA...a story that portrays through very real and amusing characters, a very subtle narration of the reliance we human beings have on hour own fate and on our own actions.