**Director Neeraj Ghaywan on Bagging an Oscar Nomination: “I Want a Respite”**
When your second film in 10 years also wins an Oscar nomination on the eve of its Indian theatrical release, things can get frenzied. Director Neeraj Ghaywan, known for his debut feature *Masaan*, graciously carved out 15 minutes for an exclusive conversation despite running on barely three hours of sleep a day. Excerpts from the interview:
—
**Congratulations on the Oscar achievement. Incidentally, I was on the Jury.**
Thank you so much! It’s been just a few days, and I am still in disbelief. We are also eager to see how the Indian audience reacts to the film.
**Though you did short films and series in the interim, why did it take 10 years to make your second feature after *Masaan*?**
I have been trying to answer that question myself! I guess the subject must make me want to get out of bed each day. No, I am not aspiring for greatness. I traveled around the country and was even planning a film on farmer suicides and another that was a biopic. I made shorts and worked on OTT projects. But this film did the trick.
**You are from the Dalit community yourself. I am told you are Maharashtrian as well. What were the pluses and problems you encountered as a Dalit?**
Yes, but my Marathi is terrible — my father settled in Hyderabad from childhood. He was a technical officer with the government and would ride a bicycle to work. My mother would stitch clothes to supplement our income. My sisters and I attended Kendriya Vidyalaya schools, and our house had roof tiles falling just as depicted in the film!
Even the biryani element in the film had a base: I am very fond of the dish. I remember jumping over roofs to enter a neighbor’s house on Eid to eat some, thinking everyone must have gone for namaaz. But I was caught, and the lady said they would have shared it if I had just asked! We faced many hardships and even avoided disclosing that we were Dalits on application forms, just like in *Homebound*. Also, one of my sisters shares the same name as my lead character’s sister — Vaishali.
**So, what is your message with *Homebound*?**
The core message is about showing humanity and having empathy, not disdain, for people who are different — whether in the way they talk, walk, or look, or have different value systems. We must at least accept others’ ideologies, even if we do not agree with them.
**The film is based on a Basharat Peer-written news item in the New York Times. How did that transform into a film like this?**
That is just the last part of my film. The story was built around it. Since Basharat had written about something that actually happened, we both visited the real people involved, and it was heartbreaking to hear their stories. Unfortunately, the optimistic ending shown in the film has not transpired in reality.
**When did the film bug strike you?**
My sisters and I often watched arthouse films on Doordarshan in the afternoons. I joined Hindustan Times’ dotcom division in marketing and also enrolled in a film appreciation course. I joined a portal called passionforcinema.com—a group of cinephiles and independent filmmakers—where we watched World Cinema and I wrote reviews. That’s where I first met Anurag Kashyap, who suggested I come on board as an assistant for *Gangs of Wasseypur*.
**How similar and different would you say your style is from Anurag Kashyap’s?**
I do a lot of preparation and research for my films. He is a genius and spontaneous. Our films’ milieus tend to be similar, but our narratives are different.
**You have a penchant for arthouse cinema and realism. Would you consider doing a mainstream commercial film?**
Honestly, I would love to do that too. Growing up, I watched Govind Nihalani as much as *Nadiya Ke Paar*. I’d love to merge the commercial form with compelling storytelling. Even with *Homebound*, though it resonated with audiences at Cannes, I tried to balance it so that it works here as well. If my movie is not seen by our audience, what’s the point of making it?
I am also aware that the producer’s hard-earned money must return. That’s why I cast known faces as leads—like Ishaan Khatter, Vishal Jethwa, and Janhvi Kapoor.
**How did Martin Scorsese come to be involved as Executive Producer?**
Mélita Toscan du Plantier, producer of *Masaan*, introduced me to him. Martin graciously got involved, offering feedback on the script and actively participating in three rounds of editing. He did it all selflessly, which makes me feel he is the greatest filmmaker in the world.
**Ishaan Khatter mentioned you have a ‘Code 360’ on sets—what is that?**
Yes, I call it Code 360, and it is mentioned on actors’ call sheets. When emotionally intense scenes are being filmed, the right tone must be maintained on set so actors are not disturbed and their mood remains intact. For example, the clapper boy must work quietly, and actors’ managers are not allowed on set. Others may follow similar protocols, but I have formalized it as Code 360.
**Ishaan also said you use music extensively on sets.**
Absolutely. I play music all the time, selecting specific songs with fitting lyrics to put my actors in the right mood. I am a hardcore music lover and prefer older songs, like those by R.D. Burman.
**Lastly, you mentioned the need for stars. Why did you choose Janhvi Kapoor in particular?**
I have seen her utmost dedication. She was supposed to do the biopic I was planning. For this film, I gave her *The Annihilation of Caste* by Dr. Babasaheb Ambedkar. She not only read it but did additional research and made notes. She was completely okay with the costumes I gave her and insisted on having zero make-up.
—
Neeraj Ghaywan’s journey, marked by perseverance and a deep commitment to authentic storytelling, continues to inspire a new generation of filmmakers and audiences alike.
https://www.freepressjournal.in/weekend/director-neeraj-ghaywan-opens-up-on-homebound-and-its-journey-to-an-oscar-nomination