So, did you take a formal course in advertising?
No. I started without any formal training in ad filmmaking. I could afford to do that because I was born in an environment where I was always surrounded by technicians and filmmakers. Conversations were always bordering on films. Though I stepped in to help my dad I got very much involved in the whole process of filmmaking. I did graduate in Physics and Maths but never really ventured to do anything other than making ad films.

Does that mean it is not really important to take formal training to get in to this business? Though I have had no formal training I would advise young people to actually do a course in advertising and then take some work experience before they enter this business. It does get easier if you are the son of a producer, director or actor. Even then you need to assist someone. There is a Film Appreciation Course at the Film Institute Of India, Pune. It's short course wherein you see and analyse a lot of films. It also gives you an in-depth knowledge, taste and grip of cinema.

If you have the time and you are lucky enough to get through, you should opt for the longer course at the same institute. That would be the best thing to do. It is also internationally recognised. For advertising there are very good mass communication courses at Xavier's and Sophiya College. They also give you a month or two of internship.

When did you start directing independently? Which was your first film?
I started directing independently when I was about 17. It was a set of films for Golden Tobacco Company. The client was a family friend. Of course those days the budget was not so high. So the risk was considerably lower. They entrusted me totally with the project as I had done some scripting which were contemporary and impressive for that time. I managed to execute it well with the help of many top technicians like cameraman, editors and music directors.

Ad filmmaking seems like a very glamourous job. What's the inside story?
Ad filmmaking requires a much higher degree of perfection than feature filmmaking. You are making a film for the agency or client or both. Authorship of a commercial never really rests with the director. It starts with the writer at the agency, creative director, agency producer, then the producer and director of the commercial and quite often it is even shared with the product manager at the client's end. So there are 6-7 people who claim authorship to the commercial. Though at an award function a film director picks up the award, it is always a team effort.

You have to get a whole lot of approvals at every stage - while shooting, editing, recording and even while presenting it. And it's not uncommon to make editing and sound changes or even re-shooting some parts for the sake of the client or someone at the agency. After all, you are not Satyajit Ray or Subhash Ghai to say what you have done is final. All this requires a high degree of patience. You have to be available all the time. That's the unglamourous part of the job. Then there are endless pre-production meeting where all that you want to do in the film has to be discussed thoroughly. If you do well you are in the news. Of course you do meet glamourous people. But is a very competitive business.

Why did you decide to switch over to feature filmmaking?
I think eventually every ad filmmaker would want to tell a longer story. So in that sense any filmmaker who is well versed with the medium would eventually do a feature film. And I'll do many more.

How different is making a full-fledged movie to that of making a commercial?
The business end is totally different. The process is the same but you are working with a longer story. You are working with a longer script. The actual execution of a feature film is like making 100 commercials. You have to work faster. And that's not difficult as there are less shots in a given duration of time. One 36 seconds commercial can have up to 20 shots. But in a feature film one minute can be one or two shot.

What are the personal attributes that one needs to become an ad filmmaker?
The first thing is a deep interest or a passion for films. You have to be passionate about watching movies, making movies and analysing movies. Beyond that it's all about your artistic inclination, your taste and visual sense. The rest can be learnt from established director, books, films, institutes, etc.

What is the most challenging part of being an ad filmmaker?
The most challenging part is to make something that stands out in the clutter. That's the most difficult thing today. There is always a current commercial, which everyone is talking about. To be a part of that gives you a high.

Filmmaking is a lot of fun for people who are interested. You get to see different location, cast, think of a treatment, execute, work with artists and musicians all the times.

Are there any lows in this profession? Of course when you don't get any work. Or when you do have work and somehow it goes wrong. People don't pay you on time. Although you work with 50 per cent advance, if something goes wrong you are totally responsible. If the agency doesn't like the way you have executed a project it is your responsibility to do it again. And at your own cost.

What are your future plans?
I am setting up quite a few ancillaries like shooting studios, recording studios and editing rooms, which I will use myself and also rent it out to people. Some of them are being set up. In think it is very important to stay and grow in this industry. I also plan to make one feature film at a time. This time to keep the reins in my hands I'd probably direct and produce it myself.

- Nivedita Jayaram Pawar