His is a story that would make for a racy romantic thriller. As a teenager, overcoming parental opposition he eloped, promising his ladylove he’ll make something of himself. He’s not let her down. Today, Imran is one of the two most sought after choreographers in Kannada cinema. His wife Saniya is a costume designer in demand. With a pleasant disposition he’s endeared himself to the top stars who get possessive when he works with others. He’s just made his directorial debut with ‘Endhendhigu’, an interesting romance with ingredients like clairvoyance and the supernatural. Irrespective of it’s box-office fate the film introduces a director of promise.
What are the qualifications you need to become a choreographer?
There’s a formal way where you must have assisted choreographers but I was lucky. In school a teacher thought I was cute and picked me to dance during an event. I joined only because I hated studies. The advantage was the teacher helped with notes and also attendance. I never thought it would become my profession. It just happened.
Entering the film industry is not easy.
It’s the most difficult part. For me it was destined. You need a godfather but I didn’t have any. I run a dance academy. Ramesh’s daughter Niharika was a student. I realised that only when he came to watch his daughter on the annual day celebrations. The next day he called and offered me a song. I had nil knowledge about the camera, but Ramesh offered to help. He helped me get a membership card without which we cannot work in the industry. ‘Amma Ninna Tholinalli’ was my first film. When I was working in ‘Rama Shama Bhama’ Ramesh suggested my name to Nagathihalli Chandrashekar. I met Ganesh and worked with him in ‘Hudugata’. I haven’t looked back since.
For the four odd minutes of a song sequence the choreographer is literally the director. He has to shoot and cut the song because most directors don’t bother to be present.
That’s true most of the time. Usually it’s the heroine’s imagination or a dream song so we can take liberties. It should be glamorous and look good. It’s difficult when it’s the hero’s introduction song or involves sentiments. During such sequences directors like Yograj Bhat, Suri and Sudeep get involved. It’s when fantasy is involved that we can exhibit our creativity.
You have to be in the good books of everyone.
Shooting itself is all about ego management. You have to massage everyone’s ego be it a unit hand or the director. If you have to give vent to your creativity you have to be good to people to achieve it. The tone in which you speak is very important because you need everyone for something.
What is this about choreographers turning directors? It’s become a trend.
You see when you do your work with dedication someone is bound to notice. They’ll say why are you satisfied just choreographing? I see all the qualities of a director in you. That sets off a spark. When we were shooting in Switzerland for ‘Vamshi,’ Puneet said if I had a suitable subject he would be interested. He thought I was knowledgeable enough. I thought back about my ignorance about the camera that I mentioned to Ramesh. I had gained knowledge. It’s a trend but the hard work needed is unbelievable. It’s easier for us because people have seen the quality of our work. I wanted to tell a story. Believe me it took four years to get a producer. Nothing happens overnight. I had narrated stories to so many people but with SV Babu it happened in a jiffy.
Whenever a choreographer debuts you feel he’ll direct something like ‘ABCD’ about dance.
Actually Radhika told me the same. She thought for a debutante I’d chosen a very mature and complicated subject. She expected a fluffy entertainer. Even my wife was surprised at my choice of story but the producer liked it and we started.
The best portions in the film are the romantic scenes.
I’m a huge fan of Shahrukh and Kajol. I loved ‘DDLJ’. I love romance on-screen.
The hero gets a typical introduction scene with a fight and the heroine interacting with the elderly and kids but later the story gets sedate. Were you confused?
There are some things the producer asks for like the fight. They say otherwise it’ll not work in the B and C centres. We cannot experiment here because it’s seen as a medium of mass entertainment. ‘Endhendigu’ has got mixed reviews. They’re talking about the lack of comedy. Some even accused me of repeating scenes but the plot is about nightmares coming true. I’ve understood that whatever you want to convey has to be entertaining. I wanted to say something that hadn’t been shown before. I have the same attitude with my choreography. The introduction scenes don’t gel but were necessary.
You’ve made a confident debut but it’s the commercial fate of your film that decides.
Despite the mixed reviews I’ve got offers to direct. I’ll definitely make another film. I’m still choreographing songs but my next will be a satire. A good technician can never go jobless and I’ll be announcing my next film shortly.
