PALOMI GHOSH (ACTRESS)
Herald Café:
You
are currently the hot property in the Konkani film industry. Everyone wants to
work with you. Your thoughts on that.
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Palomi Ghosh: I am very flattered. It
makes me happy to hear that. After ‘Nachom-ia Kumpasar’, I was approached by
quite a few of people who were interested in working with me. But it was
important to do the right one, especially because of the high expectations set
with ‘Nachom-ia Kumpasar’.
HC: How did K Sera Sera
happen?
PG: The producer of the film,
Rajesh Pednekar, approached me about the film and I met the director, Raju
Shinde. We had a couple of interaction sessions and he shared the story with
me. I knew that the technical team working on the film is very strong, which
helped me take the decision. When you’re working with the right team, you know
that the end product will be good.
HC: Tell us about your
character in the film.
PG: I play the role of Sarah,
a very ambitious woman heading a company. She has always been driven to the
point of ignoring things that she shouldn’t be ignoring. The story is about how
she has to face the repercussions of choosing one priority over the other. It
is about the price that she pays and how she deals with it.
BISHWADEEP CHATTERJEE
(SOUND DESIGNER)
Has done sound designing for films like ‘Parineeta’ (Filmfare
Best Sound Design award), ‘Madras Café’ (National Award for Best Audiography), ‘Bajirao
Mastani’, ‘Piku’, ‘3 Idiots’, etc)
Herald Café:
How does it feel working on a Konkani film?
Bishwadeep Chatterjee: Apart from working in
Bollywood, which has its own space and energy, I love working on films like
these which are more in the realistic zone and it becomes very challenging. I
have also worked on Bengali films with Rituparno Ghosh. A lot of people mistake
‘sound designing’ for music direction, background score and are largely
ignorant about it. What we have tried to capture is the soundscape of the
region. The story is about two lives of two different social backgrounds. The
story is not Goa centric; it could have happened in Tamil Nadu or in Bengal. In
this case it is happening in Goa.
HC: How did you get
involved in this film?
BC: Hari Nair, the
cinematographer of the film, was instrumental in getting me on board. I heard
the story, met the people, I could relate to the subject and it fell in place.
We recorded the dialogues in Goa. We went around recording sounds of Goa,
during different times of the day, in temples recording bhajans, the faint
sound of a choir singing in a church, etc; we have discreetly put all these
sounds in the backdrop. A local may not even notice it but it is instrumental
in making the overall experience more real and authentic.
