Showing posts with label Chuck Russell interview. Show all posts
Showing posts with label Chuck Russell interview. Show all posts
Only Vidyut Jammwal could do the action scenes in Junglee-Chuck Russell
8:21 AM
‘I have never seen a martial artist perform like this within the framework of the story, keeping the other people safe but putting himself at risk constantly’ – Chuck Russell
Abhimanyu Mathur (BOMBAY TIMES; March 29, 2019)
Calling Junglee just an ‘action adventure film’ would be stating the bare minimum; for the film stars an actor who is also one of India’s finest martial artists, being choreographed by an action director who has worked with Jackie Chan numerous times. The end result is a collection of action sequences never seen before in Indian cinema. To put it in director Chuck Russell’s words, “The film has action that is structured with a real herd of elephants and a true Indian story. What’s unique about the action in Junglee is that it’s organic to the theme of the film and it moves the story forward.”‘I WILL NOT LET ANYBODY ELSE DO THE STUNT THAT I WANT TO DO’
Almost all of Junglee’s action sequences have been done with no CGI, with Vidyut performing most of his own stunts, refusing to use body doubles. While it adds flair to the film’s action scenes, it was something Chuck had to get used to.
VIDYUT: I was not born into this film industry and it’s a different journey for us. Every time a newcomer wants to make a mark here, he has to do something nobody has ever witnessed before. In my case, I love doing what I do and I will not give anyone else an opportunity to do something that I want to do. I will not let anybody else jump off that cliff. I will not let anybody else ride that elephant.
CHUCK: I’m proud of the work I have done in Hollywood and I’m proud of the performers I have worked with. But there is a western safety protocol around these things. We are creating an entertaining illusion, where I can do three-four takes and it’s cool. What I learnt from working with Vidyut is that it’s an extremely unique style where we are using his actual martial art, and his fans worldwide expect to see something real from him. He is committed to the audience. He is committed to the real thing. So, the learning curve for me was that he wanted to do the real thing, no doubles.
‘THIS MOVIE WILL PUT KALARIPAYATTU ON THE WORLD MAP’
What sets Junglee apart from other action films is that it showcases Kalaripayattu, India’s ancient martial art, which Vidyut has pretty much made his own.
VIDYUT: We had to come up with something that represents the nation and it’s not always one of the sports we talk about. Thailand is one of the biggest destinations in the world because of Muay Thai. For me, it’s about getting Kalaripayattu on the world map the way Shaolin Temple is, the way Muay Thai is. Let’s get the mother of all martial arts at the forefront.
CHUCK: I was amazed because I thought I knew a little bit about martial arts because I have worked with martial arts specialists. With the Schwarzenegger team (in Eraser), there were all sorts of Israeli fighters. On The Scorpion King, we had the stick fighters and things were Shaolin style. Then I realised Shaolin came from Kalaripayattu and I was thrilled.
‘VIDYUT CHALLENGED ME TO SHOW ACTION THAT WE HAVE NEVER SEEN BEFORE’
Chuck says that he was constantly surprised by how far Vidyut was willing to push the boundaries when it came to the action sequences in the film.
CHUCK: He would challenge me and say, ‘What haven’t we seen before, Chuck?’, which is where the ‘chained to a table, fighting four guys’ sequence came in, because that is something I hadn’t seen before. There is a scene in which he had to run through a window, which was just a hole in a real wall. The window was the size of a belt buckle, and I told him, ‘You’re not going to jump through that,’ but he told me he could. It was my first learning experience that he really wanted to do it. I said that’s the easiest thing to do in CGI, I’ll put a window in afterwards, but I saw his commitment. I realised this is a guy who is actually doing it. I have to get that into my head and stop thinking of my tricks. He is an expert and he pulled it off beautifully and I learnt to trust him more.
‘THIS IS THE ONLY FILM SET VIDYUT HAS EVER BEEN INJURED ON’
The breakneck pace of action and willingness to push the envelope meant that Vidyut injured himself on set twice — a first for the actor, giving Chuck and the crew some nervous moments.
CHUCK: I have never seen a martial artist perform like this within the framework of the story, keeping the other people safe, but putting himself at risk constantly. During some of the action, I was a nervous wreck. I learnt this is the first film set he has ever been injured on.
VIDYUT: In Kalaripayattu, they say if you fall, it’s your karma to stand up and try again and give it your 100 per cent. If you fall again, you have not given it your 100 per cent. So, till the time you get it right, you keep doing it. I want to experience, I want to live it, and that’s why I’m doing it. Without injuries, it’s no fun.
My biggest sin would be to bore audience-Chuck Russell
4:19 PM
Ahead of his action thriller Junglee, director Chuck Russell shares what he learnt from his celebrated works and his notions about Indian cinema
Kunal Guha (MUMBAI MIRROR; March 27, 2019)
When we meet American filmmaker Chuck Russell at a suburban hotel, our first concern is obvious: Why Junglee? The director, credited for global blockbusters such as The Mask, The Scorpion King and Eraser, is making his debut in Hindi cinema this week with the family-adventure featuring Vidyut Jammwal. “There’s an old saying — 'the story chooses the teller'. When Priti Shahani (co-producer) approached me, I realised this is a dream project for any director. It has all the action-comedy elements that I love. But for once, there’s also a theme that’s important.”Chuck is alluding to the fact that Junglee narrates the story of a veterinary doctor who clashes with poachers at his father’s elephant reserve. While multiple films have conveyed the challenges in protecting the large mammals from illegal hunters, this one’s packaged as “an entertaining, family movie that also makes it uncool to buy ivory”. Besides, it also ticked Chuck’s personal checklist for evaluating a script — “It pleased the child in me, the adult in me and the action fan in me.”
Shooting in Thailand in an elephant reserve, one of Chuck’s personal accomplishments was being able to capture the enormous animals in their natural habitat while highlighting an issue that’s worth driving home. “Why do we need ivory? A man wants to put a tusk on a wall to be proud that he killed an elephant? I am proud that I made friends with an elephant,” says Chuck who auditioned several elephants before zeroing in on the two who play prominent parts in the film. “The dog in The Mask is great because I spent a couple of weeks to cast him. Animals have personalities and the two elephants in Junglee are socially engaging, complex and charming. They’re in their natural habitat so they behave naturally. I didn’t want circus elephants who do tricks,” says the filmmaker who got his lead cast members (Vidyut, Pooja Sawant and Asha Bhat) to bond with the mammoth tuskers prior to filming to ensure their equation translated across the screen. “I’ve seen elephants being used as props in films — people doing Kung-fu while jumping off them or just posing with them. I wanted to create personal moments with them,” he says fervently.
Chuck’s first impression of India was carved by the Western movies he grew up on, featuring daring heroes such as Tarzan and Sinbad. “It gave me dreams of India. It was an exotic place — some of those depictions are clichés — but there’s also some truth to it.” Prior to taking up his first Indian project, the filmmaker who counts Sultan and 3 Idiots as his recent favourites, shares that his notions about India were largely based on films. “Through Indian films, I assumed that Indian culture was warm and joyful which was all wildly true. The music and songs are obvious, but what is not obvious are the family values, a sense of national pride and heroism that possibly connects to mythology.” He was determined to ensure his first Indian project packed in these elements and yet, had a global message. “The Mask taught me that we all laugh and cry about the same things,” he says of the film he considers his most gratifying work till date. The iconic superhero comedy was also one that taught Chuck to trust his instincts. “I also learnt that when I have a notion, I shouldn’t doubt it, because no one believed me then. The technology wasn’t available, Jim Carrey was barely known, Cameron [Diaz] had never acted before and the studio was very upset about me pushing her. Also, the combination of action and comedy was unusual then.” But when the film went on to become a stupendous commercial and critical success, Chuck was convinced — he needed to make comedies that worked in every language. “With Junglee, I want to create cultural role models that I could take back to the West,” he says.
The filmmaker who worked with a largely Indian crew in Junglee, says that he learnt to value his team when the guy responsible for creating the creature for his science-fiction-horror The Blob gave up prior to filming. “He just couldn’t complete it and we were left without the starring creature. This was in pre-CGI times and it was just the most impossible physical effects I ever directed.” Chuck sought help from friends to complete the 1988 cult classic but realised the importance of building a strong team.
On meeting Vidyut for the first time, the filmmaker saw the same potential he had seen in Hollywood biggies. “I’ve worked with tough actors like Dwayne Johnson (The Scorpion King) and Arnold Schwarzenegger (Eraser) and I find that the global audience loves their vulnerability and humour. People love seeing a valiant hero’s vulnerable side. So my job with Vidyut was just to keep the acting part fun and polish the dialogue.”
Closely working with writing collaborators Raghaav Dar and Ritesh Shah, Chuck says that language was never a barrier. “We did our rehearsals in English and once we were sure, the Hindi writers took over. But by then, I knew the mood and the rhythm of every single scene,” says the filmmaker, adding that he could tell each time someone would slip up. “I have a listening ear for languages — even if I may be terrible with pronunciation. I could tell what’s going on and could catch them when they were sleeping.” He did consider the fact that all material doesn’t translate verbatim. “So, we had to change some jokes, constantly break character and do a lot of artistic work on the story because we are seeing it through the lens of two different languages.”
About the surge in OTT platforms and easy access to global content, Chuck says he “always knew the global audience well”. “We, as storytellers, can counter some of the negative media that’s out there. Business and technology are always changing. I can imagine my future adventures with multi-cultural heroes and that’s my dream.” But how is he coping with the pressure to deliver in a new industry? “I am more excited than threatened. Movies are well-known as an uncomfortable marriage between art and business. I want to entertain the global audience and my biggest sin would be to bore my audience,” he says with a smile.
The pressure is on me because I am representing India-Vidyut Jammwal on working in Junglee
7:53 AM
Filmmaker
Chuck Russell, who has directed The Rock and Arnold Schwarzenegger,
says his Junglee hero is a “special guy” and promises a spectacular
action-adventure next
Sanyukta Iyer (MUMBAI MIRROR; February 23, 2018)
Vidyut Jammwal, one of B-town’s best action heroes, admits to feeling some pressure when it comes to his upcoming action-adventure, Junglee, which is Hollywood filmmaker Chuck Russell’s debut Indian collaboration. Produced by Junglee Pictures, the film is set in Orissa and revolves around the unique bonding between a man and an elephant.
“The pressure is on me because I am representing India,” says Vidyut, who plays an animal-loving veterinary doctor out to expose a poaching racket in the film. He adds that every time he would discuss a daredevil stunt with Chuck, the director would share his experiences of working with Dwayne ‘The Rock’ Johnson on The Scorpion King or directing Arnold Schwarzenegger in his 1996 blockbuster-actioner Eraser. “These guys are action legends and Chuck used to tell me how he’d seen them perform high-octane stunts with pizzazz. So, when I suffered an injury on set recently and bounced back almost immediately, I felt proud of myself, more so when Chuck told me that any other actor would have asked for a break. That was my big moment!”
The 37-year-old-actor may be feeling the weight of the lavishly-mounted project of his Herculean shoulders, but Chuck, who has been working closely with Vidyut over the last one year, is extremely confident. “I’ve been to India four times in the last five years and have long wanted to tell stories that have an international connect. The success of The Mask internationally showed me how action and comedy could cross boundaries. I broke some rules in the West and added a little song and dance to The Mask. So, when I had two scripts set in India in development, I was open to meeting new actors and was knocked off by Vidyut’s talent. He is a very special guy, who fits my style of filmmaking and understands it. We’ve taken Vidyut’s performance to the next level in Junglee,” Chuck states with complete conviction.
For the action sequences, which boast of several Kalaripayattu sequences, his leading man has trained in several animal-like body movements. “We have done a Kalaripayattu-style aaradhana, using trunk-like motions. In nature, every animal has his own salutation, and Kalari draws from these movements, which you can see in the film too,” Vidyut explains.
The makers have collaborated with stunt co-ordinators from all over the world for the project, which kicked off in Thailand in December. The second schedule is presently underway in Mumbai. “Living and learning with animals is a completely different experience. I’m 80 kg and was performing in front of an elephant who weighed 3000 kg. One whack of his tail and I would suffer a fracture,” Vidyut recalls.
He did suffer an injury and Chuck reasons that athletes and martial artistes like Vidyut always push their bodies to the next level. The actor hurt his head during one such sequence. “Luckily, no elephants or other animals were a part of the sequence. There is a stringent safety protocol that limits all risks but we had a slip-up. It’s the kind of scene where we bring spectacular action to the screen and Vidyut came right back on the set after his injury,” the director applauds.
A number of other Bollywood actors have also piqued Chuck’s interest. He thinks Salman Khan was “a charming superstar” in Sultan and recalls meeting “a promising superstar with great potential — Priyanka Chopra” a year before she crossed over to the West and debuted internationally with Quantico. “I also met Aamir Khan in Australia and John Abraham in California. The greatest blessing of being a filmmaker is it allows me to bring together different role models from world cinemas and engage in the same thrills that excite us about movies. I’m presently developing two stories set in India and China,” Chuck signs off on an intriguing note.
Vidyut Jammwal, one of B-town’s best action heroes, admits to feeling some pressure when it comes to his upcoming action-adventure, Junglee, which is Hollywood filmmaker Chuck Russell’s debut Indian collaboration. Produced by Junglee Pictures, the film is set in Orissa and revolves around the unique bonding between a man and an elephant.
“The pressure is on me because I am representing India,” says Vidyut, who plays an animal-loving veterinary doctor out to expose a poaching racket in the film. He adds that every time he would discuss a daredevil stunt with Chuck, the director would share his experiences of working with Dwayne ‘The Rock’ Johnson on The Scorpion King or directing Arnold Schwarzenegger in his 1996 blockbuster-actioner Eraser. “These guys are action legends and Chuck used to tell me how he’d seen them perform high-octane stunts with pizzazz. So, when I suffered an injury on set recently and bounced back almost immediately, I felt proud of myself, more so when Chuck told me that any other actor would have asked for a break. That was my big moment!”
The 37-year-old-actor may be feeling the weight of the lavishly-mounted project of his Herculean shoulders, but Chuck, who has been working closely with Vidyut over the last one year, is extremely confident. “I’ve been to India four times in the last five years and have long wanted to tell stories that have an international connect. The success of The Mask internationally showed me how action and comedy could cross boundaries. I broke some rules in the West and added a little song and dance to The Mask. So, when I had two scripts set in India in development, I was open to meeting new actors and was knocked off by Vidyut’s talent. He is a very special guy, who fits my style of filmmaking and understands it. We’ve taken Vidyut’s performance to the next level in Junglee,” Chuck states with complete conviction.
For the action sequences, which boast of several Kalaripayattu sequences, his leading man has trained in several animal-like body movements. “We have done a Kalaripayattu-style aaradhana, using trunk-like motions. In nature, every animal has his own salutation, and Kalari draws from these movements, which you can see in the film too,” Vidyut explains.
The makers have collaborated with stunt co-ordinators from all over the world for the project, which kicked off in Thailand in December. The second schedule is presently underway in Mumbai. “Living and learning with animals is a completely different experience. I’m 80 kg and was performing in front of an elephant who weighed 3000 kg. One whack of his tail and I would suffer a fracture,” Vidyut recalls.
He did suffer an injury and Chuck reasons that athletes and martial artistes like Vidyut always push their bodies to the next level. The actor hurt his head during one such sequence. “Luckily, no elephants or other animals were a part of the sequence. There is a stringent safety protocol that limits all risks but we had a slip-up. It’s the kind of scene where we bring spectacular action to the screen and Vidyut came right back on the set after his injury,” the director applauds.
A number of other Bollywood actors have also piqued Chuck’s interest. He thinks Salman Khan was “a charming superstar” in Sultan and recalls meeting “a promising superstar with great potential — Priyanka Chopra” a year before she crossed over to the West and debuted internationally with Quantico. “I also met Aamir Khan in Australia and John Abraham in California. The greatest blessing of being a filmmaker is it allows me to bring together different role models from world cinemas and engage in the same thrills that excite us about movies. I’m presently developing two stories set in India and China,” Chuck signs off on an intriguing note.
Meeting Vidyut Jammwal reminds me of meeting Dwayne Johnson for the first time-Chuck Russell
7:57 AM
With films like The Mask, The Scorpion King and A Nightmare On Elm Street 3: Dream Warriors to his credit, you cannot bracket Chuck Russell into any one genre. The American filmmaker is now set to widen his horizon further, with a foray into mainstream Bollywood. With Vidyut Jammwal as his leading man, the director will be broaching the subject of poaching in Junglee, an action-adventure film to be shot in Kerala
Anshul Chaturvedi and Aarushi Nigam (BOMBAY TIMES; August 3, 2017)
From A Nightmare On Elm
Street to The Mask, Eraser, or Scorpion King, film writers find it
difficult to pin you down to a genre because your films are so vastly
different from each other. Your next is not just a different genre but a
different language as well. What are you doing helming a mainstream
Bollywood film after these projects? What space should we expect Junglee
to be in?
I've always been fascinated with world cinema and find myself excited to try new genres whenever possible. I find it a bit of a miracle that an emotionally truthful film can communicate joy or hope in any language. To me, that is the highest achievement in film...transcending language to touch audiences around the world. It is an opportunity to remind ourselves we are not so different after all. Junglee is an action-adventure film with touches of comedy and romance. It's the story of a successful young veterinarian in Mumbai, who must return to an elephant reserve in the jungle, when the elephants he loved as a boy are in jeopardy from an international gang of poachers. My goal is to make a film that is true to India, but uses the music, dance and the wonderful artistes in Bollywood to tell a universal story about returning to the natural world. When our producer Priti Shahani sent me the original story, I knew almost immediately it was something special... an opportunity to use humour, heart and thrilling action to tell a tale that could address a global problem of the threat to these magnificent creatures.
As someone who first made a mark with small budget, indie films, what is better for you, creatively? A small film might not have a budget for your vision, but a big studio film might have less elbow room for your creativity.
Honestly, there are advantages to both. I enjoy the sense of teamwork on smaller films, as you face these remarkable challenges in a very personal way. You have to solve problems creatively, which can lead to more original results. But there is also a thrill to leading the small army of a studio film. It's a bit like being the ringmaster of a large circus. The secret to happiness on a studio film is balancing your passion to tell this particular story with a clear understanding of what the studio expects and the flexibility required to please those responsible for costs. If all this is done in harmony, you can have a great experience and tell your story with quite a big bang.
In Hollywood, films on the human-animal relationship have evolved as a genre with multiple subgenres from comedy and drama to children's films and films for grown-ups. But Hindi films on the subject are limited, and well, tend to get quite syrupy. Some of us may remember movies like Haathi Mere Saathi and Safed Haathi (do see them if you get the time), but there haven't been many in that genre to have made a mark. In more recent times, the most well-remembered animal character is perhaps a match-making dog, Tuffy, from the top-grossing Hum Apke Hain Koun...! What do you plan to bring to the Indian audience that is usually starved of coherent animal-centred stories?
I'm a big animal lover and have always seen animals as simply part of my cast. In fact, I've had producers wonder at my “casting sessions“ to find the right animal. In Junglee, I hope to take all that a step further. Three elephants are key characters in this story and I hope to capture their personalities just as well as the human stars.
Before coming down to work here, how closely have you observed the Indian film industry? It's largely star-driven, though several story-driven films have recently gone on to become hits. Your story is something Bollywood hasn't touched in a long time. Given that background, what is the homework you come with, the approach you plan to take that makes you think it will work with the mainstream audience?
I've been engaged with Indian cinema for a few years now, as I've proposed other co-productions that require international casts. I've always felt there is great talent in Bollywood, and have visited Mumbai several times. Hollywood is also star-driven, but as a director, some of the most fun I've had, has been launching new stars. I feel that the audience is always looking for something new and original, so I tend to jump at the chance to give it to them. Junglee is definitely that kind of an opportunity. I've told you I was inspired by this story when I first read it, but I was equally inspired by our leading man. From the time I met Vidyut Jammwal, I could imagine no one else in this role. He has charm and good humour that is rarely combined with such natural physicality. In that way, it reminds me of meeting Dwayne Johnson for the first time for his lead role in The Scorpion King. Certain things cannot be coached by a director, and that bit of charisma which makes a performance really shine is what we're looking for. I spent two days with Vidyut in Mumbai and I can see that potential.
The Animal Welfare Board of India is also known for making shoots with animals difficult for filmmakers, with the result that a lot of films that want to include animals, shoot such sequences abroad. How prepared are you to deal with AWBI's rules and red tapism? Is shooting abroad or with visual effects for particular scenes also an option?
I assume the rules are there to protect animals and natural environment which happens to be the theme of this film. So of course, I support it. In the West, I've worked under similar guidelines with good results. I wouldn't put an animal at risk or under stress any more than another member of my cast. Part of the responsibility of making this kind of a film is improvising to what works best for the animals. And yes, going to CGI or other kind of effects is a good option, if that is not possible. In the past, I've changed a script to play to what an animal actor already does best naturally. As far as red tapism goes, I can only hope the AWBI understands our message and helps us move things along. But I certainly welcome their guidance in addition to my own standards.
Since Junglee tackles the issue of poaching, are you prepared to question the system or the conditions that have allowed it to thrive? And does that make you anticipate trouble from that system? How tough is it to fight against poaching, globally?
Personally, I have no concerns about questioning the system of poaching and ivory sales. In fact, that is a large part of what's drawn me to this project. While I understand that some feel that they have no choice but to make a living this way, it is specifically our hope that this film will shed light on why this is a horrific practice, and generate constructive efforts to stop this from continuing.
In the documentary space, wildlife or nature films made in India by Indians are a dying breed. The best nature films have been made by foreign filmmakers and studios. And now Bollywood is entering this domain with you at the helm. Why do you think Indian filmmakers are not able to harness our own wildlife onto celluloid effectively?
I don't know if that's true. I'm quite impressed with Indian filmmakers as they seem to express themselves with unique freedom, using high drama, comedy and dance unlike any other culture. The documentary space, however, often requires funding and sup port from like-minded organizations. If that is available to Indian film makers, they are certainly capable, if inspired to do so. Junglee is not a documentary, but my feeling is that a truly entertaining action-comedy has the potential to send a positive message to the audience that might normally avoid documentaries.
If you have any degree of familiarity with Indian mythology, you may be familiar with the elephant God Ganesh and Indra's vehicle, the elephant Airavat. Despite such cultural embedding, we aren't quite there in terms of sensitivity or effort when it comes to keeping these grand animals safe. Do such contradictions surprise you?
I am familiar with Ganesh from the incredible artwork I've seen. I'm quite fascinated with mythology from various cultures and have always believed God presents Himself to different cultures in different ways. I also see God in these animals. Maybe, I can express a little of that in the film. The fact that the positive spirit of animals is reflected in Hanuman, Ganesh and other deities means Indian culture recognizes that spirit. Perhaps the contradiction comes in the fact that it's easier to imagine that spirit helping us, rather than us helping earthly animals in our day-to-day lives. Simply being aware that buying ivory is dishonorable is a major step in putting an end to the problem of poaching. That's pretty easy, isn't it?
I've always been fascinated with world cinema and find myself excited to try new genres whenever possible. I find it a bit of a miracle that an emotionally truthful film can communicate joy or hope in any language. To me, that is the highest achievement in film...transcending language to touch audiences around the world. It is an opportunity to remind ourselves we are not so different after all. Junglee is an action-adventure film with touches of comedy and romance. It's the story of a successful young veterinarian in Mumbai, who must return to an elephant reserve in the jungle, when the elephants he loved as a boy are in jeopardy from an international gang of poachers. My goal is to make a film that is true to India, but uses the music, dance and the wonderful artistes in Bollywood to tell a universal story about returning to the natural world. When our producer Priti Shahani sent me the original story, I knew almost immediately it was something special... an opportunity to use humour, heart and thrilling action to tell a tale that could address a global problem of the threat to these magnificent creatures.
As someone who first made a mark with small budget, indie films, what is better for you, creatively? A small film might not have a budget for your vision, but a big studio film might have less elbow room for your creativity.
Honestly, there are advantages to both. I enjoy the sense of teamwork on smaller films, as you face these remarkable challenges in a very personal way. You have to solve problems creatively, which can lead to more original results. But there is also a thrill to leading the small army of a studio film. It's a bit like being the ringmaster of a large circus. The secret to happiness on a studio film is balancing your passion to tell this particular story with a clear understanding of what the studio expects and the flexibility required to please those responsible for costs. If all this is done in harmony, you can have a great experience and tell your story with quite a big bang.
In Hollywood, films on the human-animal relationship have evolved as a genre with multiple subgenres from comedy and drama to children's films and films for grown-ups. But Hindi films on the subject are limited, and well, tend to get quite syrupy. Some of us may remember movies like Haathi Mere Saathi and Safed Haathi (do see them if you get the time), but there haven't been many in that genre to have made a mark. In more recent times, the most well-remembered animal character is perhaps a match-making dog, Tuffy, from the top-grossing Hum Apke Hain Koun...! What do you plan to bring to the Indian audience that is usually starved of coherent animal-centred stories?
I'm a big animal lover and have always seen animals as simply part of my cast. In fact, I've had producers wonder at my “casting sessions“ to find the right animal. In Junglee, I hope to take all that a step further. Three elephants are key characters in this story and I hope to capture their personalities just as well as the human stars.
Before coming down to work here, how closely have you observed the Indian film industry? It's largely star-driven, though several story-driven films have recently gone on to become hits. Your story is something Bollywood hasn't touched in a long time. Given that background, what is the homework you come with, the approach you plan to take that makes you think it will work with the mainstream audience?
I've been engaged with Indian cinema for a few years now, as I've proposed other co-productions that require international casts. I've always felt there is great talent in Bollywood, and have visited Mumbai several times. Hollywood is also star-driven, but as a director, some of the most fun I've had, has been launching new stars. I feel that the audience is always looking for something new and original, so I tend to jump at the chance to give it to them. Junglee is definitely that kind of an opportunity. I've told you I was inspired by this story when I first read it, but I was equally inspired by our leading man. From the time I met Vidyut Jammwal, I could imagine no one else in this role. He has charm and good humour that is rarely combined with such natural physicality. In that way, it reminds me of meeting Dwayne Johnson for the first time for his lead role in The Scorpion King. Certain things cannot be coached by a director, and that bit of charisma which makes a performance really shine is what we're looking for. I spent two days with Vidyut in Mumbai and I can see that potential.
The Animal Welfare Board of India is also known for making shoots with animals difficult for filmmakers, with the result that a lot of films that want to include animals, shoot such sequences abroad. How prepared are you to deal with AWBI's rules and red tapism? Is shooting abroad or with visual effects for particular scenes also an option?
I assume the rules are there to protect animals and natural environment which happens to be the theme of this film. So of course, I support it. In the West, I've worked under similar guidelines with good results. I wouldn't put an animal at risk or under stress any more than another member of my cast. Part of the responsibility of making this kind of a film is improvising to what works best for the animals. And yes, going to CGI or other kind of effects is a good option, if that is not possible. In the past, I've changed a script to play to what an animal actor already does best naturally. As far as red tapism goes, I can only hope the AWBI understands our message and helps us move things along. But I certainly welcome their guidance in addition to my own standards.
Since Junglee tackles the issue of poaching, are you prepared to question the system or the conditions that have allowed it to thrive? And does that make you anticipate trouble from that system? How tough is it to fight against poaching, globally?
Personally, I have no concerns about questioning the system of poaching and ivory sales. In fact, that is a large part of what's drawn me to this project. While I understand that some feel that they have no choice but to make a living this way, it is specifically our hope that this film will shed light on why this is a horrific practice, and generate constructive efforts to stop this from continuing.
In the documentary space, wildlife or nature films made in India by Indians are a dying breed. The best nature films have been made by foreign filmmakers and studios. And now Bollywood is entering this domain with you at the helm. Why do you think Indian filmmakers are not able to harness our own wildlife onto celluloid effectively?
I don't know if that's true. I'm quite impressed with Indian filmmakers as they seem to express themselves with unique freedom, using high drama, comedy and dance unlike any other culture. The documentary space, however, often requires funding and sup port from like-minded organizations. If that is available to Indian film makers, they are certainly capable, if inspired to do so. Junglee is not a documentary, but my feeling is that a truly entertaining action-comedy has the potential to send a positive message to the audience that might normally avoid documentaries.
If you have any degree of familiarity with Indian mythology, you may be familiar with the elephant God Ganesh and Indra's vehicle, the elephant Airavat. Despite such cultural embedding, we aren't quite there in terms of sensitivity or effort when it comes to keeping these grand animals safe. Do such contradictions surprise you?
I am familiar with Ganesh from the incredible artwork I've seen. I'm quite fascinated with mythology from various cultures and have always believed God presents Himself to different cultures in different ways. I also see God in these animals. Maybe, I can express a little of that in the film. The fact that the positive spirit of animals is reflected in Hanuman, Ganesh and other deities means Indian culture recognizes that spirit. Perhaps the contradiction comes in the fact that it's easier to imagine that spirit helping us, rather than us helping earthly animals in our day-to-day lives. Simply being aware that buying ivory is dishonorable is a major step in putting an end to the problem of poaching. That's pretty easy, isn't it?
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