Elected president of the Karnataka Film Chamber of Commerce for the second time, actor-politician Jayamala has a lot of dreams. She is also disappointed about the lack of infrastructure to nurture the film industry and encourage new talent to make an entry into filmdom.
In an interaction with the editorial team of The New Indian Express, the former minister batted for a comprehensive policy for the film industry and the urgent need to complete the long-pending project of a film city. Excerpts...
You have been elected president of Karnataka Film Chamber of Commerce (KFCC) for a second term. What are the challenges you face as a woman?
I have worked at KFCC in various capacities. For two years, I was on the Executive Committee, three years as treasurer, and served as vice-president for four years. My mentor, R Lakshman, always advised me that if I were to become the president, I should first work as secretary.
His words motivated me and helped me understand how things work as I served as secretary for four years, which boosted my confidence. But I also realised it’s not easy for women. Some people openly ask why we should request a woman to get a job done. The mindset is still there. But I have taken it as a challenge and will prove my work through my actions.
How did you manage both acting and your work at KFCC?
I entered the film industry at the age of 13. My last film as a heroine was with Telugu actor Chiranjeevi in 1986. Then I took a break, and my daughter was born in 1990. The problem is once you are in the cinema field, it keeps dragging you. The fragrance of mascara and lipstick is so addictive. After I took a break, I could not sit idle. I kept myself busy reading, cooking and gardening. But once I engaged with KFCC, it was refreshing. Here we work for people we know, like producers, actors, distributors and exhibitors. So I enjoyed working there.
What differences do you see in cinema then and now?
Generations have changed from the time I entered the film industry. I am talking about 50 years -- we have seen making movies on celluloid to digital and now vertical movies. Earlier, there was a lot of love and affection within the industry, which I think is missing now. Today, there are OTTs, and people say single-screen theatres are not seeing much of an audience. But I feel we have to accept the change, get a hold on it and make movies commercially viable.
Do you think stars should review their remuneration according to the changing scenario?
Earlier, Kannada cinema had just seven centres, and movies of even legendary actors like Dr Rajkumar took two years to reach break-even point. But today, hundreds of crores of rupees are collected in a single day, and thousands of crores over weeks. The cost of production has also increased manifold, and the dynamics have changed entirely.
Should only star-driven films go pan-India? Or are even small movies with a limited budget accepted in that space?
All good films should reach everywhere, and good content will always find success. The best example is ‘Su from So’, which has no stars or a high budget. ‘Kantara’ became a huge hit as it portrayed our culture and tradition. Our producers should think more about our heritage and way of life, and continue working on stories that have strong nativity.
Is decision-making in the film chamber an easy task?
It is easy. When problems arise, we take them to the Conciliation Board, and many issues are resolved there. When the number of problems kept increasing, we planned to establish a Central Mediation Committee. In the industry, disputes often occur — between producers and artistes, and artistes and directors — so mediation is essential. The recent misunderstanding between the ‘Love Mocktail’ team and director Guru Deshpande was also resolved amicably. All members of the Mediation Committee are very understanding and kind-hearted, and no one wants to escalate an issue.
How does KFCC view the issue of copyrights and movie titles which are not in Kannada?
As of now, we don’t have a system where we collect stories and then issue copyright to the creator and ensure the story isn’t copied. Such a system exists in Delhi, Mumbai and Tamil Nadu. Earlier, we used to tell people to give movie titles only in Kannada. However, now movies are getting released in more than six languages, and they prefer to give common titles that sync with all languages.
There is a lack of infrastructure for the Kannada film industry... not even a film city. Will it happen during your tenure?
I feel disappointed in this regard. The ecosystem is great in Tamil Nadu, where Kannada films used to be shot earlier. The government assured us of infrastructure here and got us moved from Tamil Nadu to Karnataka in 1985. A film city was planned on 333 acres in Hesaraghatta. We thought it was our land and held several rounds of meetings.
As the city grew, the land was used for other purposes, and it did not materialise. Now, a film city is planned in Mysuru, and 160 acres have been allotted for the purpose. We have urged the government to develop infrastructure at Rs 500 crore there. We are hopeful it will happen this time. But it is unfortunate that we don’t have a comprehensive policy for the development of the film industry.
What kind of comprehensive policy is required?
Film education should be taught in a systematic and professional way. Here, many institutes come and go without students. In other countries, there are many institutes meant for various departments. Shouldn’t we have such infrastructure? There are a lot of things happening in the animation sector. We call Bengaluru the Silicon City.
Shouldn’t we have our own exclusive GFX and Animation Park here? Why should we go out of state to make movies? Whenever a new technology comes, we are perplexed. If there is proper training infrastructure, such things will not happen. Another issue is ticket pricing.
If you go to a multiplex in Tamil Nadu, it costs you Rs 150 and Rs 200 in Andhra Pradesh and Kerala. What is happening here? Also, with how many languages should we compete when our neighbouring states have no competition from other languages? The focus should be on making the film industry independent and robust.
What is your opinion on the high ticket price charged in multiplexes?
Ticket price has been capped at Rs 200 in Karnataka. The ticket price in multiplexes has remained an ‘ethical question’. In other industries like Telugu and Tamil, ticket prices are capped at Rs 200-250, and multiplexes are reaping profits. However, in Karnataka, some have approached court opposing ticket price capping, stating they cannot make profits. If multiplexes take two steps forward, the Kannada industry will follow.
Are multiplexes charging in thousands, up to Rs 3,000, so the common man doesn’t enter?
The matter is in court. We (film chamber) are ready for a free discussion on this and are pinning hopes on the government that it will support us. In March, on a Friday, 26 movies were released, of which 10 were Kannada. Other language films are doing well in multiplexes. In a year, 250 Kannada films are released. How do we protect the Kannada language and movies? The Kannada industry can grow only with the support of everyone, and multiplexes must realise it.
With few established stars, new talent needs to enter the industry. How can KFCC help in bringing and supporting fresh talent into the industry?
We have requested the CM and DCM to create an ecosystem where we can build film institutes, and have urged them to complete the film city project. Only then can new talents enter and sustain themselves in the industry.
What is the difference between the legendary actors of yesteryears and today?
Be it Rajkumar, Vishnuvardhan, Ambarish or Srinath, they all were committed to the industry, which is very rare now.
The Kannada film industry is heading towards its centenary. What do you have to say?
Yes, by 2034 the Kannada film industry will be completing its 100th year, marking a milestone. At this time, I want to register that we need students to learn about Kannada cinema, quality stories that can be made into movies and need a good audience which loves cinema. KFCC will take all necessary steps to ensure we get all the above facilities.
When 'Sati Sulochana' was released in 1934, it amazed the audience, and there was a lot of discussion about the technology used. From there till now, cinema has witnessed immense changes in all terms -- acting, dance, cameras used, fight sequences, etc. There are a lot of opportunities in Kannada cinema. We should make full use of technology to create impactful cinema and take the Kannada film industry to the next level.
People say old stories were gold, and there is a dearth of quality stories today... we see the same masala hit formula being churned?
Karnataka has rich stories, our language has a strong literary heritage and has fetched eight Jnanpith awards for the state. We have countless stories. The government is supporting novel writers with a grant of Rs 25 lakh. We should give more prominence to stories. It is not true that people are not going to theatres. However, cinema should also meet the expectations of people.
You say Kannada literature has got eight Jnanpiths. Isn’t the recent controversy over a song a black mark on it?
People know what they want and what they don’t. It was the people who flagged this song. The director apologised and has taken it back. Film-makers must be cautious and apply self-censorship, and ensure such instances are not repeated.
How did your political journey start?
When we are at our peak, politicians invite us for campaigning during elections. Once we attain a certain age and if political leaders think we can work there, they start offering opportunities. Eventually, we become part of a political party.
How was the transformation from becoming MLC to the role of minister?
Being in the Upper House (Council) gives more opportunities to help people and frame policies that matter to the people. Policy discussions there provide a lot of clarity and assurance, that is what I liked most about the House.
The government has given 33 per cent reservation to women legislators. But we see women are not given prominent ministries. What is your opinion? Also, when can we see Jayamala in Vidhana Soudha again?
Many women want to enter politics, and their dream will come true with this move. Indira Gandhi ruled the entire country. If not for her, I don’t think women would have had any voice today. Women can handle any department, but they are not given enough opportunities. Women have to wait for an opportunity. Only if she gets an opportunity can she prove herself. It would be no wonder if a woman one day becomes chief minister of Karnataka. Our leaders have always shown women respect. Even strong leaders like Indira Gandhi faced challenges, but women still deserve equal chances to lead. Seeing me again in Vidhana Soudha is not in my hands (laughs).
Which one did you enjoy more, cinema or politics?
Cinema. The amount of satisfaction it gives cannot be described in words. It also gives us an identity. People recognize me through the cultural field, so that connection makes cinema more special for me.
What is that one change you want to bring in your second term at KFCC that people need to remember you for?
Theatres are closing down. Just imagine how it will be to have a theatre with cafes adjoined in each layout. The concept is kind of bringing theatres to homes. People can visit theatres in their layouts, just out of their homes, watch movies while children play and buy something to eat from adjacent cafes. It would be a wonderful relaxation for people, and within my tenure, I want to achieve this.
What message would you like to give to the next generation in the Kannada industry?
The next generation should become role models. They have more opportunities today, and they should make full use of all of them. They should grow and also help the Kannada industry grow. They must be ready to work across all languages. There are plenty of opportunities for women, and they must come forward and utilise them.