RS Prasanna On Making Sitaare Zameen Par: 'Learnt To Value Simplicity'
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In a conversation with Subha J Rao, filmmaker RS Prasanna reflects on Sitaare Zameen Par, its heartwarming reception, lessons from working with neurodivergent actors, and how valuing simplicity gave the film its soul.
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AFTER ITS SIX-WEEK DREAM RUN in theatres, RS Prasanna’s Aamir Khan, Genelia Deshmukh-starrer Sitaare Zameen Par has been drawing in audiences on YouTube. Quite in keeping with the film’s philosophy that everyone’s normal is different, the production house decided to break the clutter and make itself available on YouTube for a rental of Rs 100. The comments — they’ve crossed 5,000 — on the channel are proof of how much the film “reached” people. Reviews did mention specific areas that critics had an issue with, especially the simplification of the issue, but that is the very reason the film struck a chord with so many people. In the first few days of its theatrical run, everyone spoke about how the film, about an obnoxious basketball coach Gulshan (Aamir) training a group of people with special needs, brought the audience back to theatres. This heartwarming reception to the film has made Prasanna happy, but he’s happier that this success means space has been created for more inclusive films. Edited excerpts from an Interview with RS Prasanna below: Get access to 30+ streaming platforms with OTTplay Premium's Power Play monthly pack, for only Rs 149. Claim your offer now! |
Why do you think the film worked well with a majority of the people? I think because of its casual, everyday vibe. When I watched the Spanish Campeones (2018), what struck me was this particular tone of humour. That was something that also struck Aamir Sir. When we selected our sitaare (stars), and if you met them in person, you’ll realise the tone of the film is similar to the tone of them as people. They are full of happiness and joy. They don’t have any victimhood complex, and they live in the present. If they saw us exhausted on the sets, they would give us a kiss and cheer us on. When and how did you all decide this was to be a spiritual sequel to Taare Zameen Par? The material came first, and the rest followed. There is a lot of synergy between the two scripts, and both are all heart. So, it was organic and quite the obvious choice. How did you decide on the character traits of your cast? It came from their personalities. Nothing was really forced, especially the humour. Life is Beautiful was a huge reference point, in terms of the laughter and tears, apart from the original script Sitaare is adapted from. I was looking at situation-driven comedy, like PG Wodehouse. And, upon release, that was validated when I heard the theatre explode in laughter and also heard the quiet sobbing. |
What was the process of making the movie like? From the initial auditions to the workshops and making the movie, it was educational. The workshops were not about them learning to act, but about us trying to get into their world because they are the story. And I am cognisant of the fact that we were working with highly functional representatives of the community, who had parental care and inclusive education. We saw their home videos, bursting with their talent. They were basically fish waiting to get into the water. We designed an inclusive space where the mechanical aspects of making a film — the camera, the lighting, the production design — all disappeared, and the cast had an environment where they could have fun and play around. This is a great takeaway for all of us. An inclusive space is a wonderful thing, for it makes everyone — both neurodivergent and neurotypical folks — open up and feel safe. |
How did you decide on the tone the film adopted? While it has worked with the majority, some felt it tilted towards simplicity. We definitely wanted the humour to lead people into the story. I did not want to complicate things. And that’s what worked for us. It also helped so many people better understand the characters. I think the whole experience with our sitaare in real life taught us to value simplicity, and realise we often complicate things and run away from the simple truths of life. And so, the tone of the film comes from what they teach us in real life. Is that why, at a point, the film does become a treatise on how to live in the moment? Yes. You have folks who are delighted over a second place in antakshari and slow cycling. There’s so much to learn. And, I needed this joy in their lives to help break down Gulshan’s ego. That’s how it turns into a life-changing posting from a punishment assignment. |
What was your bond with your cast like? Each character has a certain rhythm. And, I enjoyed the process of getting to know the artistes who essayed these characters. Simran, even in real life, is quite like Golu. She can be daring but is also very perceptive. Rishi (Sharmaji) was busting to communicate, though we took time to understand his words. But his confidence was something else. He danced wonderfully, and before long, we realised we had begun understanding him. Ayush (Lotus) was full of humour. Vedant (Bantu) scratches his ear often, and when he sensed I was stressed, he would hug me and say ‘Okay sir, I love you.” For Gopi, every instruction was in Tamil. He’s great with technical stuff like continuity and camera. He’s a huge fan of Kamal Haasan and Mohanlal. Aroush (Satbir) has a sarcastic sense of humour. And, on my part, I would always find a way to visit my artistes and see if their personality and that of the character matched. Acting chops are important, but this sync was as important. What was working with Aamir Khan like? I must explain the working process of Aamir Khan. He tries to bring a different personality to each of his characters. The AK of Lagaan is different from the AK of Dil Chahta Hai. He’s also a very empowering actor who wants the director to win. He wants to work with people dying to tell a story. With him, a director gets the benefit of working with a superstar who does not possess the airs of one. He is a legend with the humility of a newcomer, and he keeps pushing his directors to the spotlight. As a producer, he gave me the time I needed. I took 10 months to cast. There was no pressure. But audience validation helped. The rocket analogy works for cinema too. Unless it lands, your job as director is not complete. And someone like Aamir said yes to the film, and said, "This is the director I am going to work with". I am grateful for the faith. Stream Aamir Khan's Ishq, Hum Hain Rahi Pyaar Ke, Raja Hindustani and more on JioHotstar, now available with your OTTplay Premium subscription. |
What have you taken back from this film? I would return rejuvenated after shooting, because no one ever complained. No one wanted a close-up or more attention. It was as if they were born with a state of mind that takes others years to achieve. I am very empathetic, but I was never sure if it was active or passive. This film taught me who I was. The shoot floor can be a high-stress environment, and we made sure none of that was passed on to the cast. Interacting with them has made me more patient, kinder, and a much better listener. I’ve learnt how to be a better parent. I don’t know if I will implement all these immediately, but they are now a part of me. I admire their tenacity. One of the shortlisted candidates who did not make it to the film was struggling with one dialogue. She nailed it the next day. Her mother told me that she had practised the dialogue more than 100 times, sitting in the bathroom, to not disturb others. I saw the power of simple, good old-fashioned hard work. They don’t give up, they don’t ever let down a person. They won't give up unless you give up. The kind of energy I received from the first day on set is immeasurable. It ensured the film came very close to how I visualised it. |
What was most moving when it came to the responses? When the audience laughed and cried, applauded, sniffled — that's the validation. That the film triggered such an emotional response was moving. There were photos and videos of people with Down’s and autism watching the movie. They felt seen. That's when I felt the film has a life of its own, that the purpose of making it was fulfilled. The deeper purpose was to celebrate those on the sidelines on the big screen. It was heartwarming that families came together to be a part of it. My wife, Meena, would tell me that the destiny of the sitaare would drive the film, and that I would be a passenger in that vehicle. |
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