The editor of Kahaani Namrata Rao tells Sagorika Dasgupta about her life before and after the film
I didn’t have the slightest idea that I would end up working in the film industry. I had studied IT at Delhi University and when I graduated, I realised it was not my cup of tea. I had started acting in theatre and looking out for odd jobs. I landed a job as a production assistant at NDTV. But I found it cyclical and repetitive and soon my passion ran out. I decided to take up films seriously and thus joined a film school in Kolkata. That really changed my outlook towards the world.
I shot documentaries which travelled to a lot of film festivals across the country. Dibaker Banerjee watched I Am The Very Beautiful, a documentary I had edited. He really liked it and called me to Mumbai to work on his film Oye Lucky! Lucky Oye!
On Oye Lucky…
It was an incredible experience. I was editing something on such a large scale for the first time and I was very nervous. I took a very cautious approach and I realised how a tiny change could affect the film in a big way.
On Dibakar Banerjee
Dibaker has a very keen sense of sound and I learnt a lot about music… the right places to insert sounds in a film and all that. He pushes you to give your best. With him you, can’t just give up.
It was such a big deal for me to the do the film as it was a Vishal Bhardwaj film. Director Abhishek Chaubey would always sit with me on the edit and not once did we not enjoy the post production as everyone was so jovial. It made the work easier. The only problem with the film was that it got delayed a lot.
On Abhishek Chaubey
He is a great writer. He manages to keep his writing pacey and interesting and that helped me keep the edit pacey too. He is one of the finest writers we have in the industry.
This film was quite a challenge as it was shot in many formats. It was also captured on a lot of hand-held cameras. And I also had to make sure the film didn’t look ‘too edited’ as it had to look like a home video shot by amateurs.
Since the nature of the film was unique, we had to go back and forth many times on the editing table.
Band Baaja Baaraat
A lot of people think this was an easy film but there were a lot of montage sequences of Delhi, and I had to capture this vibe. It was a colourful film with even more colourful characters, which meant I had to capture the candidness of the film really well.
On Maneesh Sharma
He knows exactly how to extract the best performances from his characters.
It was shot in documentary style. Sometimes, there were no lights on the streets in Kolkata. And so we had to include that in the scenes later. A lot of the footage, like the montage shots of Kolkata’s streets, had been shot separately and we had to incorporate them later.
On Sujoy Ghosh
He has great vision and is such a great person. He always keeps you on your toes. We would always work till late in the studio, and after I reached home, he would call me and suggest a couple of options that would make the scene even better. He is very resilient.
Yash Chopra’s Next
I have never done anything so mainstream before. I also went on the sets as we had very little time for the schedule and so I also got to work with Shah Rukh Khan.
On Yash Chopra
Dream come true!