Rishab Shetty: A film like Kantara cannot happen every time

A narrative was established against the film. Each time something happened to someone, people tried to frame a negative story about Kantara. When I dug deep, I understood that some were trying to stop the film from happening. We were shooting for hours together, for 120 continuous days, for five to six months. It’s unimaginable. Sometimes the tasks we faced made us feel the film would have stopped—but it didn’t. This film tested us emotionally, mentally, and physically. But at the same time, it was all faith. Through cinema, through technicians, through the audience, we have found the daiva.

I know that a film like Kantara cannot happen every time. Today, my team and I are in this world, and it is the spirituality in Kantara that has pushed me this far. Also, Kantara is not done just for money. If I had taken other offers, I would have avoided risk, and even given more time to my school-going kids. But I did Kantara Chapter 1 because of divine intervention. Be it Kannadigas taking Kantara to another level, and when audiences, cutting across linguistic and cultural differences, spoke so much about the film, I knew I had to finish this story, and give it justice by doing the prequel.

We started shooting in April 2024, and completed it this July. It was possible because of the team's execution and planning. We planned everything meticulously, but cinema does have its share of unpredictable happenings. We required the film to be shot across four seasons: rain, wind, summer, and again rain. If we missed even one span, we would have waited another cycle.

Honestly, I didn't want to take on any project until I completed Kantara Chapter 1. But I am glad such roles have come my way. But I do want to break it, and do a Sarkari-type film too. As an actor or filmmaker, I can’t stick to one style. I want to explore diverse roles. Films like Hanuman came searching for me. In fact, they chased me all the way to Kundapura. I didn’t have a reason to reject it. Since I have an interest in mythology, Yakshagana, and history, such characters attracted me.

I am not going anywhere. I am bringing everyone here. In fact, a major pan-India film will be shot in Kundapura. That makes it a Kannada film. Post-COVID, audiences want a cinematic experience to reach them in their own language. That is why we are going the pan-India route. For example, Hanuman is a Telugu film for the director, it is a Kannada film for me because its roots are here, and for the producer, it is pan-India.

No. For instance, Kantara's Shiva is as human as it gets. After divine intervention, he undergoes a transformation. But through Shiva’s rage, his characterisation, his slightly negative aspects, the point of realisation, and his enlightenment, we show how daiva is guiding him. Ultimately, we must inhabit the role of actors. Yes, certain limitations exist, but if it is interesting, if there is an opportunity to learn, I will do it.

With Kantara’s success, the scale escalated naturally. The larger-than-life canvas happened because of the story. When the film goes back 1,000 years, it is obvious to have war sequences and rifts; ultimately, it is still a human-versus-nature conflict. And just like the first part, this too will have culture and tradition as its core elements. It will be very rooted, for sure.

I love to bring in freshers, but for certain characters, we needed established faces. When we wrote roles, especially Kulashekara, we wanted Gulshan Devaiah to play this. Every actor was brought in for the respective character, as the story demanded.

Costume designer Pragathi Shetty, my wife, has been integral to this process. Professionally, she has travelled with me since Sa.Hi.Pra Shaale, starting as a costume designer. Arvind Kashyap, initially assistant director in Lucia, where I met him, has been a constant collaborator and has travelled with me for many years. Ajaneesh and I have known each other since Ulidavaru Kandante, and he brings in magic with his music. For this film, he brought in instruments, folklore, and tribal artists from the coastal belt, all of which contributed to the authenticity. Ramdass Mime offered the right resources for the exchange of ideas. The foundation comes from Vijay Kiragandur of Hombale Films. Rarely do you find producers invested in the process itself, and not just in financing. Vijay has stood like a big brother, aligning emotionally and spiritually with the story.

Every official poster of Kantara Chapter 1 has established the well and the circle. Still, there is a lot of truth hidden in the well and circle. However, I can’t say now how it will be taken forward.

Not really. My thought helped bring the vision of Kantara alive. The film has helped portray culture, traditions, faith, and folklore. As an actor, I could bring it to the screen. Both as a writer and a director, I am thankful for every bit of recognition that has come my way.

For years together, I dreamt of making films in Kundapura, and finally, Kantara Chapter 1 made it possible. I thank my whole Kundapura. We had 100 vehicles on the sets. Families, junior artists, and various communities were treated equally in front of daiva. The entire Kundapura united for Kantara Chapter 1.