<p>As a college student, I was always interested in acting. As a youngster, I was very inclined to theatre and extra-curricular activities. I never thought of myself to be a writer or a director; I was a lethargic guy. But, destiny had other plans. </p>.<p>I was working with Fidelity Investments as a process consultant and associate, and used to believe that there is not much inflow in the film industry.</p>.<p>It was when I watched ‘Arundhati’ that I started thinking about writing and the director and the work that went into making of the film. The film made me ruminate about details of content and dialogues of a film; it was my biggest inspiration. </p>.<p>I started my journey with Yograj Bhat as an assistant director with ‘Pancharangi’. I made my directorial debut with ‘Govindaya Namaha’. ‘Natasaarvabhowma’ is my seventh film. With every film, I learnt a bit more about filmmaking and have explored a different part of myself. </p>.<p>I’ve always worked with different genres. While ‘Govindaya Namaha’ was a comedy romance, ‘Googly’ was a romantic story. I worked with Puneeth Rajkumar for the first time in ‘Rana Vikrama’, which was an action film. ‘Jessie’ was a romantic horror film and ‘Nataraja Service’ was a comical take. I work in a way such that I don’t reach a point of saturation. </p>.<p>Being aware about his capabilities, I was excited to work with Puneeth sir in ‘Natasaarvabhowma’. It is a delight to work with him; he is a humble and versatile actor and always encouraging. We wanted to collaborate right after ‘Rana Vikrama’, but things didn’t happen immediately. It is destiny that we collaborated again. </p>.<p>The film was a gratifying experience; we had interesting incidents happened on the sets.</p>.<p>We had a 10-day schedule in Kolkata, which was a big eye-opener for us. A lot of Puneeth’s fans came up to him to meet and greet; many were aware about his films like ‘Rana Vikrama’. At times, it became difficult for us to shoot outside.</p>.<p>A scene between Sadhu Kokila sir and Puneeth sir was hilarious. There is a scene where Sadhu Kokila tries to make his new tenants understand that his house is not possesed. Puneeth’s character retorts in a subtle tone that it must have been after seeing him (Sadhu) that people were getting scared.</p>.<p>The climax scene was shot at Mahakuta, it was quite a challenge as people were crowding around the set.</p>.<p>I would say ‘action’ at the beginning of a shot and the crowd would say ‘cut’ when they felt a scene was done. While it was quite amusing, we had to move the shoot elsewhere. </p>.<p>Working on each film has taught me different things. While working with familiar actors is great, working on challenging new scripts helps one explore more about oneself. </p>.<p><strong><em>Pavan Wadeyar</em></strong></p>
<p>As a college student, I was always interested in acting. As a youngster, I was very inclined to theatre and extra-curricular activities. I never thought of myself to be a writer or a director; I was a lethargic guy. But, destiny had other plans. </p>.<p>I was working with Fidelity Investments as a process consultant and associate, and used to believe that there is not much inflow in the film industry.</p>.<p>It was when I watched ‘Arundhati’ that I started thinking about writing and the director and the work that went into making of the film. The film made me ruminate about details of content and dialogues of a film; it was my biggest inspiration. </p>.<p>I started my journey with Yograj Bhat as an assistant director with ‘Pancharangi’. I made my directorial debut with ‘Govindaya Namaha’. ‘Natasaarvabhowma’ is my seventh film. With every film, I learnt a bit more about filmmaking and have explored a different part of myself. </p>.<p>I’ve always worked with different genres. While ‘Govindaya Namaha’ was a comedy romance, ‘Googly’ was a romantic story. I worked with Puneeth Rajkumar for the first time in ‘Rana Vikrama’, which was an action film. ‘Jessie’ was a romantic horror film and ‘Nataraja Service’ was a comical take. I work in a way such that I don’t reach a point of saturation. </p>.<p>Being aware about his capabilities, I was excited to work with Puneeth sir in ‘Natasaarvabhowma’. It is a delight to work with him; he is a humble and versatile actor and always encouraging. We wanted to collaborate right after ‘Rana Vikrama’, but things didn’t happen immediately. It is destiny that we collaborated again. </p>.<p>The film was a gratifying experience; we had interesting incidents happened on the sets.</p>.<p>We had a 10-day schedule in Kolkata, which was a big eye-opener for us. A lot of Puneeth’s fans came up to him to meet and greet; many were aware about his films like ‘Rana Vikrama’. At times, it became difficult for us to shoot outside.</p>.<p>A scene between Sadhu Kokila sir and Puneeth sir was hilarious. There is a scene where Sadhu Kokila tries to make his new tenants understand that his house is not possesed. Puneeth’s character retorts in a subtle tone that it must have been after seeing him (Sadhu) that people were getting scared.</p>.<p>The climax scene was shot at Mahakuta, it was quite a challenge as people were crowding around the set.</p>.<p>I would say ‘action’ at the beginning of a shot and the crowd would say ‘cut’ when they felt a scene was done. While it was quite amusing, we had to move the shoot elsewhere. </p>.<p>Working on each film has taught me different things. While working with familiar actors is great, working on challenging new scripts helps one explore more about oneself. </p>.<p><strong><em>Pavan Wadeyar</em></strong></p>