Milan Luthria: Now we know every shop in Chor Bazaar

When you make a period film, you have to get every single object in the frame right — the characters, their costumes, the props used, the artwork, etc. In an outdoor shoot, each and every vehicle shown has to belong to the era, right down to the number plates. The dialogue spoken by each actor has to reflect the time-frame depicted in the movie too. It’s an endless list, and it takes a lot of effort to get everything right.

Another thing about recreating an old era in an Indian setup is that the country’s architecture has undergone massive change.

Recreating old western cities are comparatively easier. London, Berlin, etc haven’t changed much in years, and have many old structures that have been maintained well over the years. In India, if you manage to locate an old structure suitable for shooting, you might find a brand new structure right next to it, or an overhead bridge that didn't exist earlier.  So it’s tough to get clean frames. It, then, takes a long time to find the right locations that allow you the comfort of space and look authentic at the same time.

Sometimes, computer generated imagery (CGI) comes in handy.
While filming Once Upon A Time In Mumbaai (OUATIM), set against the backdrop of the Bombay underworld in the ’70s, we shot a lot at the dock area, Sewri, Bhaucha Dhakka, etc. These areas gave us the topography needed for our story. Similarly, when I made The Dirty Picture, set against the '80s Madras film industry, the Mumbai bits were shot at Chembur and Matunga, places which have a south influence.

My next film, the sequel to OUATIM, will be set in the past too, and I can't say it will be any less difficult now that I have directed two films with a period setting. A period setting for a film is directly proportionate to the amount of research required, the prep that goes into each shoot, money required, etc. There are tempers flying because of the stress related to getting each and every aspect right, and you have to constantly keep in mind that you are working within a budget. But as a director, it is important to be firm about what you need from your crew and cast. It is better you spend months on pre-production and getting everything right beforehand and then shooting the film without a hitch, than rushing the pre-production and then facing trouble shooting.

The only thing that gives me comfort now is that I have a team that has worked with me on both my earlier films and know the tribulations coming their way with the third. Also, now we know every shop in Chor Bazaar well enough to be aware of where to get what.

— Milan Luthria has directed two period films, Once Upon A Time In Mumbaai and The Dirty Picture. Luthria spoke to Aniruddha Guha