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“Seems like a lifetime, seems like usually yesterday”. Nagesh Kukunoor gets reminded of a opening lines of his Hyderabad Blues as he reminisces a 20 years that have left by given a recover of a film, that inadvertently jump-started a “independent film movement” in India. Now, a prequel is on his mind.
“It seems like yesterday, yet we still can’t trust we have survived after 20 years,” Kukunoor told IANS over a phone from Mumbai.
A regretful comedy about an NRI Varun, who finds himself held between dual cultures when he earnings home to Hyderabad, India after a camber of 12 years, Hyderabad Blues worked with a singular vibe and relatable content.
Kukunoor even came adult with a supplement in 2004.
“Hyderabad Blues 2 was technically a initial supplement in a American context in India, wherein we had 2 in a title,” Kukunoor recounted, adding that he done it as he had a applicable and “good adequate subject to tackle”.
Does he devise to take a ‘franchise’ further?
“I’ve suspicion about it many times, yet a tour over my final few films has been intensely varied… Primarily, from a Lakshmi to a Dhanak, a change is so radically extreme that we am not so certain if we have a correct story in me.
“And we don’t wish to do a partial of a trilogy usually to do it. When we wrote Hyderabad Blues 2, primarily we pronounced we wouldn’t do anything yet 7 years later, it was a opposite Varun who was staying in India, so we felt there was something to say. Now I’m not certain what a angle should be.”
He started essay a Hyderabad Blues 0 to see Varun’s backstory.
“But we haven’t finished a book and we don’t know… Sometimes, we go by these moods where we am like ‘Yeah man, it will be a good story to tell’ since a 1980s are now clearly a past. Two generations have left by. So, it feels like some fun story is there to tell.
“But we am also potentially looking during it in a web array format. Let’s see, we don’t know if there’s adequate mileage, though.”
Hyderabad Blues will be screened in Mumbai on Jul 17 in jubilee of a 20 years, as partial of Drishyam Films’ The Masters.
Kukunoor has cemented his space in a film attention with projects like Rockford, Dor, Iqbal, Aashayein, Lakshmi and Dhanak.
“The highs and lows have been as good or as bad as anyone else. It always happens in a business. But a plea to try and keep that indie suggestion has been taxing, and that is a honest truth.
“Every time we go out into a marketplace and we contend there’s no star cast, it is a outrageous challenge. But a start of that is clearly from American indie cinema. That’s what we was shabby by.”
Kukunoor complicated engineering in a US and worked for someday before filmmaking held his eye.
“I never had a transparent devise of creation my possess film. we came here, and there’s one prolonged story about how we went to a set of TV sequence Veer Hanuman and when we saw what happened on a set, we knew we would not be means to fit into a industry.
“So then, out of that hugely joyless impulse and in that unfortunate space, we suspicion maybe we should make my possess film. That’s how we set out to write Hyderabad Blues.”
He didn’t have adequate income to make one. So, he went behind to a US, worked for another year, saved adult and returned to India again. The book was created in 7 days, a fire took about 17 days, and Kukunoor invested Rs 17 lakh, including selling and broadside cost, into Hyderabad Blues.
“Once a film was made, we never suspicion it will work in India, ever. So we packaged adult and left for a US.” But predestine had another plan.
The initial MAMI Film Festival in 1997 had a territory called View From Abroad, and Kukunoor was one of a 4 filmmakers invited to be a partial of it.
That non-stop a doors for a film and got him a distributor. Even Doordarshan 3 motionless to play a film in 3 tools — something that fetched him around Rs 75,000 behind then.
Kukunoor is certain Hyderabad Blues would never have been done had he been vital in India.
“I was never awaiting it to work in India since when we had left India roughly 10 years before to Hyderabad Blues, Indian cinema was usually stepping into a misfortune avatar. The 1990s. That was a memory we left with. So, that horrible cinema would not have remotely cared for a film in 3 languages, with no famous star cast, 82 mins prolonged and each disastrous in a book. So we done a film meditative it will usually work for a American audience.”
But it was this proceed that eventually worked.
Drishyam Films owner Manish Mundra said: “Nagesh started a new series with this self-funded film, a fruits of that we are enjoying even today. It will be good for a assembly and for us to revisit this implausible tour with him.”