He’s one of those directors whose films you just can’t get enough of. People binge-watch Indraganti Mohana Krishna’s work over and over, not just for the entertainment but because his films have this uniqueness about them. But what really stands out is his simplicity, both on and off screen. He doesn’t just tell stories; he makes you feel them. At a recent event, he opened up to CE about his life and passion for films.
Excerpts
We know Mohana Krishna Indraganti as a great film director who has contributed films like Ashta Chamma, Sammohanam, and Gentleman. How did your journey in cinema begin?
Before my filmmaking journey began, I was a journalist and a documentary writer and filmmaker for a while. I contributed to a documentary series called Mahandhra in 1997. I earned my Master’s degree in Filmmaking from York University in Toronto, Canada, and returned in 2001. In 2004, I made my first film, Grahanam, based on Gudipati Venkatachalam’s short story Doshagunam. The film won the National Film Award for Best First Film of a Director. After Grahanam, I continued making films, including my recent film Sarang Pani Jatakam, which is about to be released. So far, I have made 12 films. It’s been an enriching and fulfilling journey, and I look forward to creating more interesting films.
Whenever you write a new script, what is your creative process like?
My creative process changes from film to film and genre to genre. But it’s a simple and straightforward process — I don’t dramatise it. When an idea comes to mind, I develop it into a story organically. Every day, I sit at the table and write about three to four scenes. It’s not like you sit and wait for inspiration. I aim to write a certain number of pages daily in a very disciplined manner. After about a month, I have a rough draft, which I then refine by removing unnecessary parts and shaping it into a plot. Structuring is a technical choice — deciding the beginning, middle, and end. Writing the screenplay combines structure and freedom; by then, I already know my characters and plot. After completing the screenplay, I take a week-long break and then review it. I usually write 10 to 12 drafts before it becomes the shooting script. It’s a laborious but exciting process, especially when characters come to life organically.
Who are your favourite directors?
In India, I greatly admire Satyajit Ray — he’s my all-time favourite. Among Hindi directors, I admire Bimal Roy. I also like Dibakar Banerjee, Vishal Bhardwaj, and Anurag Kashyap. In Telugu cinema, I admire KV Reddy, BN Reddy, Bharani Ramakrishna, P Pullayya and LV Prasad. Among contemporary directors, I’ve always admired Ram Gopal Varma and more recently, Mari Selvaraj and Vetri Maaran. Internationally, Sidney Lumet, Akira Kurosawa, and François Truffaut have greatly influenced me. I also admire John Ford, Martin Scorsese, and David Fincher.
If you had to suggest three must-read books for youngsters, what would they be?
For screenwriting, I recommend Amnon Buchbinder’s The Way of the Screenwriter, which is about Robert McKee’s story. In western literature, I’m a big fan of Edith Wharton’s The Age of Innocence. I also recommend reading Henry James, the Brontë sisters, and Jane Austen — and of course, Shakespeare. Among Telugu literature, I recommend classics by Kodavatiganti Kutumbarao, Buchibabu, and Chalam. Good contemporary writers include Mohammed Khadir Babu, Gogu Shyamala, and Bandi Narayanaswamy.
What does filmmaking mean to you?
Filmmaking is one of the greatest art forms. In its purest form, it is exhilarating and uplifting. However, it’s also easily commercialised and reduced to a consumer product. I enjoy making films about real life, real people, real heroes, and real conflicts. It’s an emotionally demanding and draining profession but also highly rewarding if you stay clear and relevant.
If not a director, what would you be?
If not a director, I would definitely be a teacher or a journalist. These two are my favourite professions. In fact, I wanted to be a journalist if I didn’t become a director.
How do you view films incorporating technology like high-end VFX?
Technology is always changing and will eventually get outdated. What remains fresh is writing. VFX, IMAX, 3D, and virtual reality are just tools — they don’t make a difference to a good story. As long as these tools aren’t just commercial gimmicks, they can enhance the scale and scope of a film. For instance, IMAX means a larger screen, so it costs more to buy the ticket. Dolby Atmos means louder sound and more noise, while virtual reality means more fake visual effects. However, we must remember that some of the greatest films were made on 35mm film without these advancements. Great stories never age, but technology always will. So, my suggestion is to prioritise storytelling over technology.