'The world is but a cosmic drama created by God for our entertainment only.' Neelakanta's first film Show had these lines penned by Parahamsa Yogananda. They made a deep impact on Neelakanta, who entertains audiences through his movies made with passion. Yet, he chooses paths that are slightly different, giving us films that are offbeat, yet mainstream; imaginative, yet rooted in reality.

It comes as no surprise, then, that Show (with a unique concept of just two characters) and Missamma have fetched him National and State Awards besides huge accolades. Coming soon is Nandanavanam 120 km, a film Neelakanta wants to say little about, but Radhika Rajamani managed to get something out of him though. Excerpts:

The title Nandanavanam 120 km. is intriguing...

It arouses a certain amount of curiosity, and I like titles like these. I want audiences to come and watch it. Maybe there is a journey. I would say the film is an emotional thriller. I know audiences will have a rollicking time and walk out happy at getting their money?s worth

What inspired or triggered the idea for the film?
The central thought of the film has been in my mind for quite some time. I simply fleshed out the screenplay.

You have cast newcomers Ajay Varma and Manasa in the lead roles. How did you choose them?

I was looking for two new faces as I wanted a fresh lead pair. Taking stars would not have been suitable for the roles. I have known Ajay for five years. When he came back from the US, he casually mentioned that he would act in a film I made. We used to meet often. When I thought of the characters of Nandanavanam, I found Ajay suitable. He was surprised, but agreed to be part of it. As for Manasa, she approached me a while ago and I found her apt for the role.

Where was the film shot?

In and around Hyderabad.

The film is a thriller with no songs. Such films are making inroads in the industry today.
I am looking for independence in filmmaking. I should be free to make any kind of film and get away with it. I felt Nandanavanam wouldn't require songs as it would alter the thematic content. It's not as if I dislike songs; I just feel they should be there only when necessary.

What made you produce the film?

I was a producer before I turned director. Some people have been asking me to direct films, but my instinct made me do Nandanavanam - it was a plot I wanted to do. When there are no songs or known faces, no producer is going to risk it. So, I decided to go ahead on my own.

Your films (Show, Missamma, Sada Me Sevalo) deal with relationships. How do you deftly weave emotions into your films?
Emotions are common to all. They are the mainstay. The excitement comes from doing films on relationships and emotions. I have always liked films with emotional depth by filmmakers like Bapu, K Vishwanath, K Balachander, Hrishikesh Mukherjee and Basu Chatterjee.

If you look at Hollywood films like Close Encounters Of The Third Kind, Star Wars and E.T., emotions play a role despite technical effects. Even a film like Psycho has a psychological, emotional angle. Emotions capture the attention of an audience. Also, my sensibilities and sensitivity makes me aware of many little things that help create the right ambience and emotions for my films.

Women are well characterised in all your films, with roles to play rather than being mere glam dolls...

I believe in equality of the sexes. This strong characterisation of women is also noticeable in K Balachander?s films.

How have you mastered the art of writing a screenplay?

My sense of screenplay is taken from Hollywood - it is straight to the point. It has also been developed by watching K Balachander's movies, which revolve around interpersonal relationships. I have not read books on screenplay writing. I learnt the craft by sitting in theatres and watching films. When I was a producer, I used to sit in at discussions with directors like Bharatiraja and Bhagyaraj. That was also a learning experience. What you take in from films and imbibe is what matters.

Have you been inspired by any directors?

I admire many directors. K Balachander is one of them. I want to make films like him. One of the best moments in my life was when I was hugged by Balachander after the screening of my Tamil film Priyanka. He had come to the theatre to watch it and when the owner told me about it, I rushed there. Balachander hugged me and said, 'Good work. God bless you!'

What are the kinds of movies you want to make? Do you want to explore all genres?

I do. I don't want to limit myself to just one genre. The more versatile a director is, the more the longevity. There is so much exciting happening around and so many stories to tell. I want to make movies that are a fusion of mainstream and art: middle-of-the-road cinema. Even Oscar award-winning films can be money grossers. I want the common man to come and watch a film without getting bored.

I never sit and say I want to give a message. Cinema, to me, is a reflection of what we see. It should give us a perspective of what we are. It is up to you to call it entertainment or a message. Cinema should emotionally involve us. I feel entertainment encompasses all emotions -- the play of emotions may be in different formats. I am passionate about films. I want to do something different and be remembered.

You are making Missamma in Tamil with Cheran and Asin...

Yes, I am remaking Missamma, but it is in the initial stages and I am still working on the script. Cheran and Asin suit the characters, but it is too early to talk about the film.

Today, there are different kinds of cinema - art, mainstream, multiplex, crossover, low budget and so on. Is it an exciting period to be in?

Yes, these are exciting times. Filmmakers are growing, as are audience sensibilities. They were always ready to adapt, but we couldn't give them what they wanted. Now, their demand is growing and they have become vocal. I am trying to reflect that thinking in my films.