Yashoda worked with the filmmaker on Raman Raghav 20 While Vijesh was part of the team behind Gangs of Wasseypur . Writer-director and VFX supervisors Yashoda Parthasarthy and Vijesh Rajan began their journeys in the film industry with Anurag Kashyap . Their latest short film, Aakhiri Ride, is also presented by Anurag and Vasan Bala .
Gangs of Wasseypur remains an iconic piece of cinema. Take us behind the scenes of the film. How was it shooting that masterpiece?
Because when I first made my mom read the script, she recommended him, but I didn’t believe that an actor from Panchayat-like big show will star in my short film, chandan’s story is quite unique. In an exclusive interaction with Hindustan Times, the duo spoke about how Anurag’s early influence shaped their understanding of cinema. They also discussed casting Panchayat actor Chandan Roy and featuring the voice of fellow Panchayat actor Faisal Malik in their short film, as well as how their observations during long cab rides across Mumbai inspired Aakhiri Ride. We had narrated it to a couple of actors, but we felt like something was missing, and also they were not from UP or Bihar. We wanted someone who looks very dedicated to his work and has a little bit of innocence. Later, our casting team also recommended Chandan, and as soon as he came into the meeting room, we were like, ‘Wow, he is perfect’. He is so humble, intelligent, and technically very sound. He’s also very dedicated; he would often be like, ‘Can I say this line again? He is very layered as a person, which was quite fun to explore during the process. Vijesh/Yashoda: A lot of drivers come from UP and Bihar to work in metro cities. Yashoda and I often travel long distances across Mumbai by cab, and that’s when we started noticing the drivers and hearing about their problems. So, the film is somewhat based on several real-life incidents. When we met, he asked me if I wanted to work with him. The following week, auditions started for Gangs of Wasseypur, and they asked me what I wanted to do on the film. This is what Anurag sir does. He can spot talent from a mile away and doesn’t gatekeep. He is like my godfather. Yashoda and I owe our entire careers in the industry to him. Vijesh: Anurag sir was an absolute child about it; he was having so much fun. Every day, he would be talking to everybody, from spot boys to actors to technicians. There was no intense authority or pressure. We have been on a lot of sets, and sometimes there is this awkward silence on set, you can smell and taste the authority, but with Anurag sir it is like a playground. That spirit — love for cinema, love for the craft, collaborative energy — is in all his sets. Everything fell into place for that film. As a director, you can be a control freak, but he isn’t. He literally wings it. He manufactures these accidents and waits for people to surprise him.
Vijesh: I worked on an indie film, The Untitled Kartik Krishnan Project, and Anurag sir went to my director and told him that he wanted to work with the sound designer, which was me. When I told him I wasn’t a professional sound designer, but I work on VFX, he simply asked me to stick around. I just told them whatever you want me to do.
