Meghna Gulzar: Making 'Talvar' was hugely draining!

What inspired you to make a film on the Talwar case? Why call it Talvar (sword)?
The case is fascinating - in the sense that multiple investigations, a long-drawn trial, a verdict and a sentence have all transpired. And yet, there are many questions that still don’t have entirely convincing answers. The idea to explore this sense of unfinished-ness through a film, was un-passable. The title of the film alludes to a dialogue in the film that occurs at a very poignant moment in the film - the dialogue is referring to the sword in the hand of the statue of Lady Justice.

How did you go about the casting? Was Sanjay Dutt earlier supposed to play Irrfan's role?
Irrfan Khan was sent the first draft of the script even before my father was given a copy to read. As far as I know, he was the only actor approached to play the part he is playing in the film. And I had one meeting with him and he agreed to do the film.

Konkona seems relatively young to play the role of a mother.
Konkona is a mother in real life too, isn’t she? And this is me… whose mother played Rishi Kapoor’s mother in Kabhie Kabhie when she wasn’t even 40. So I guess that’s the sensibility I come from. When an actor is an accomplished performer, physicality and age are hardly a consideration during casting. At least for me.

Apparently Irrfan took some time before saying a yes?
Like I mentioned earlier, Irrfan and I had one meeting. At the end of that meeting Vishal ji called to inform me that he was on board. This was in June 2013. We started filming in June 2014. And Irrfan’s commitment to the film didn’t once waver through that lapse of 1 year.

Have you shown the film to your parents?
I showed the film to my father, on his birthday. We had a technical test screening of our festival print. My mother wanted to see an unsubtitled print, which I haven’t been able to complete before leaving for Toronto. So that I will do once we’re back.

People are talking about how uncannily similar are Avirook Sen's book Aarushi and Talvar. Comment.
I know a lot of people have read Avirook’s book. But I don’t know how many people have seen Talvar considering we haven’t had that many screenings. I would have a better perspective if I had read the book. My bad it came out at the time I was neck-deep in post-production of Talvar. 

Vishal and his team researched on the film for a year-and-a-half. Do you find certain similarities/same trajectory between Talvar and the Sheena Bora case today? How?
Vishal ji went from completing Matru to prepping for Haider along with working on Talvar. I spent one and half years on the research to make sure Vishal ji had all the support he needed on the scripting process. You should ask Priti Shahani, my Co-Producer at Junglee Pictures –– we would often laugh as she would ask me random questions about the case during the shoot, to keep testing my knowledge of details. But you can’t make a film like this without having done your research. With reference to the Sheena Bora case, the obvious similarities that jump out are the unparalleled public and media attention. The posturing of theories and judgements before an investigation concludes and all facts have been covered comprehensively. And of course, the change in the investigating team mid-course.

When one is making a film based on a real-life story is it tough finding a balance between real-life and reel-life - how much to show and not? 
If one sets out to make a realistic and authentic film on a real-life event, you have to be as true to the facts as possible. And when the facts are gruesome, you rely on your sensibility and sense of aesthetics to decide how much to show and how to show it. Films on real-life incidents have a large chance of falling into the trap of sensationalism. All of us on Talvar were constantly aware and guarding against doing precisely that.

In Talvar have you completely kept it as factual as the research as possible or taken cinematic liberties?
The facts and data have not been meddled with. Cinematic tools have been used to give characters more than one-dimension –– like a personal trajectory, and to enhance certain plot-points for a better screenplay graph.

While making the film were you emotional touched/moved at any point? Which scene affected you the most?
It is hugely draining to make a film on a real-life incident –– the responsibility of recording and recreating a historical occurrence weighs down quite a bit. And when the event is a violent one, it becomes even more difficult. Filming the murder sequences were very tough. From all perspectives. I tried to be as clinical as humanly possible during the shoot of the film.

Earlier were you supposed to make the film with PNC?
Mr Nandy had once told me - “We want to make all your films!” I gladly echoed his sentiment! We discussed 2-3 films in the seven years between Just Married and Talvar. I believe, every film charts it’s own journey, has it’s own destiny. And so does Talvar.