Malayalam writer-director Ranjan Pramod: I always wanted to make films, writing has been a detour for me

Writer-director Ranjan Pramod (left) with Dileesh Pothan on the location of O.Baby
| Photo Credit: SPECIAL ARRANGEMENT

Writer-director Ranjan Pramod is back at the marquee after a six-year break. O.Baby, his directorial venture with actor-director Dileesh Pothan in the lead, releases in theatres on June 9.

Scriptwriter of some of Malayalam cinema’s popular movies such as Meesa Madhavan, Manassinakkare, Achuvinte Amma, and Naran, he has directed three films — Photographer, Rose Guitarinaal, and Rakshadhikari Baiju Oppu.

In a pre-release interview with The Hindu MetroPlus, Ranjan says: “O.Baby is a thriller with a quirky theme. It is set in a forest. The title stands for the name of the character played by Dileesh.” He is reluctant to divulge details about the subject and the characters. Excerpts from the interview:

But for a phone call from Dileesh, the film would not have happened. He wanted to know why I was not making films. He had acted in a couple of scenes in Rakshadhikari Baiju Oppu, but we did not keep in touch after that. However, we admire each other’s works and that is why we decided to sit down to discuss a theme. We wanted to see how things would shape up. It wasn’t even finalised as to who would be directing it. Everything happened organically.

Writer-director Ranjan Pramod Writer-director Ranjan Pramod
| Photo Credit:
Abin Mahin

Once we finalised the theme, Idukki was selected as the location. We stayed there for a few days and then I started writing the script. Dileesh is one of the producers along with Abhishek Sasidharan and Pramod Thevarppalli.

It was the requirement of the character and not because he was involved in the project. Even if he had not made that phone call, I would have cast him. I could not think of anyone else for the role.

I wanted a fresh look for the film. Except for [writer-director] Raghunath Paleri, the other artistes are fairly new to Malayalam cinema. However, they are not debutants. They are talented artistes who have not made it big. Among them are [singer and social media influencer] Haniya Nafisa, Devadath VS, a kalari practitioner, and Gopalakrishnan, a theatre actor. Saji Soman, son of late MG Soman, returns to cinema after 17 years. I chose him because his face was apt for the character.

There are freshers behind the camera as well. Except for editor Samjith Mohamed and re-recording mixer Sinoy Joseph, others have done only one or two films or have worked in the advertising field.

I am lazy. I think a lot and enjoy that process. I float through that process and travel far and wide in my thoughts. But that can’t you give a remuneration right! (laughs). Jokes apart, I am terrified of the responsibilities that come with being a director. The biggest challenge in filmmaking is taking decisions, sometimes so many of them on a single day. Once you arrive at a decision, you create something, which is the film. But you can’t predict the fate of that film. That scares me, especially when so much money is invested in it.

I am not a literary person. I love to visualise things. For me, filmmaking is writing with the lens, my camera is my pen. I wanted to make films and never planned to become a writer. Writing has been a detour.

Dileesh Pothan on the location of O.Baby
| Photo Credit:
SPECIAL ARRANGEMENT

I had been making documentaries and ads before I decided to make my first film, that too in Tamil, with Ajith and Juhi Chawla in the lead. Although the project was announced, it did not take off. That hit me hard and in order to be financially stable, I went back to making ads. That’s when I met [director] Lal Jose and we became friends. I wrote my first film for him, Randam Bhaavam, which did not do well at the box office. That hurt my ego and I was resolved to prove myself. There was an offer to remake Randam Bhaavam in Tamil and I had discussions with Ajith as well. But I wanted to make a place in Malayalam cinema. That happened with Meesa Madhavan, my second work as a writer. Then I got an offer to write for Sathyan Anthikkad, whom I admire as a filmmaker. I wanted to learn from him and that’s how I wrote Manassinakkare. Eventually, I established my space as a writer.

Even though I was not around for so many years, I have been following what is happening in the industry. Now that I am back, I have not found any drastic change, except for technical updating, which happens regularly. I always update myself and that is why I could introduce new aspects in my films. For example, sync sound was used in Rakshadhikari Baiju… , which was not common in Malayalam cinema then. Many artistes were upset about it I struggled to finish it. Photographer, my first film, was ahead of its time in many ways and I paid the price for it!