Eko script writer Bahul Ramesh on his cinematic journey, Christopher Nolan, climaxes, awards and more

“I show the script to others only when it’s completely ready. I generally write without the pressure of a deadline,” says Bahul Ramesh.

Bahul Ramesh’s cinematic inspiration is Christopher Nolan. So, when he was penning the movie Eko, specifically its climax, he immersed himself in the ‘Inception’ track ‘528491’ that he said helped him to write it with a flourish. There’s something to Bahul’s writing that’s fresh and riveting. Both Kishkinda Kandam and Eko, the two scripts written by him, have won critical acclaim and enjoyed box office success. Together with Dinjith Ayyathan, Bahul Ramesh, forms one of the most formidable director-writer duos in the Malayalam film industry alongside Syam Pushkaran and Dileesh Pothan. The hotshot writer-cinematographer talks about this journey in the industry and his aspirations and ambitions. Excerpts:

Bahul Ramesh values individual expression over awards, focusing on unique storytelling and character nuances in his creative process.

Hi Bahul, the two movies that you have written so far (Kishkinda Kandam and Eko) have elements that have an international appeal. It’s clear that there’s a lot of homework behind your craft, riding on years of learning. Yet, the writing appears fluid and unique. Where does this stem from?

Well, I do not know whether they have that kind of heightened aesthetic quality (laughs). But I appreciate the feedback.

Our family was full of cinephiles. I used to watch 3-4 movies on television on some days and definitely one a day and my parents never restricted me. We used to also have plenty of film discussions at home. But all through these experiences I never enjoyed generic viewing, where the audience was able to predict what’s coming up. I always loved a script that avoided clichéd scenes and dialogues. From the time I was in 8th or 9th grade I harbored the desire to become a writer/director and started preparing towards it.

It’s rare for a writer to double up as the cinematographer too of a particular movie. In your case, not only your writing has received rave reviews even the cinematography has been appreciated. Why are you in this rare dual role?

Though my ultimate goal was to become a writer/director, I knew I had to first get a foothold in the industry. Cinematography is a technical craft that I learned to get into the movies. I did a course in visual communication from the LV Prasad Institute in Chennai. This kept me going in the business and eventually got me the space to write scripts.

Being a cinematographer helps me in my writing. I exactly know the technical limitations and possibilities of a scene and write accordingly. I know how a particular scene could be shot even as I write the lines. It’s a great help. I feel writing and cinematography are complementary.

What were your early influences as a writer?

It was Christopher Nolan’s movie Prestige that changed my perception of movies. Its script, dialogues and climax were superlative and had a deep impact on my life. Director Vetrimaran in Tamil and Anurag Kashyap in Bollywood were the other major influences.

Can you tell us more about your scripting style?

I show the script to others only when it’s completely ready. There is no attempt to show the script to anyone halfway through. I generally write without the pressure of a deadline. I write the script, finish it and then show it to my wife, father and brother. My initial feedback comes from them. Only then I take it to a director or a producer as the case maybe.

I try to take a path less travelled, find my own individual texture in writing and has full conviction in the script when it’s fully ready. There’s no discussion in between. I take a ‘commitment free’ approach in writing with no obligation to impress.

Do you write with the climax already etched in your mind?

The climax evolves as I write. I figure out the climax as the script goes to the deep end. I’ve done that with Eko and Kishkinda. There’s a certain power to the writing when I do that.

In fact, the origin of Eko is embedded in a single line of thought that struck me one day. ‘Sometimes protection and restriction can look alike’. That was the thought behind the script. The duality of guardianship through the lens of animals – that’s the theme that evolved from that thought.

Director Dinjith Ayyathan and you have been in perfect sync in Kishkinda Kandam and Eko. You are now among the top director-writer duos in Malayalam. Would you like to start your directorial venture soon?

Thank you. It has been a pleasure to work with Dinjith. We have no rigid camera placements. We like to be original, candid and spontaneous. The actors are given space to perform within a particular framework.

Both of us like to experiment with actors whose combination scenes have been rare in the past. Fresh combinations work wonders on screen. Also, the dialogues have to be presented with a certain rhythm. I like characters that communicate with punctuations, pauses and variations in dialogue delivery.

It helps to have clarity when we shoot and both of us are adamant that we get the best out of every shot.

At the moment I’m enjoying this space; happy to be wielding the camera and doing my writing. Direction will have to wait for a while I guess.

Actor Sandeep Pradeep has become a star with the movie Eko. What are your impressions about him?

What struck me about Sandeep was his ‘effortless craft’. He’s focused on nuances. Dinjith and I had noticed him in the movie Antakshari where he displayed some controlled acting. That was the control that we needed for his character in Eko. He’s not desperate to show that he can act. He does what’s required for the scene.

Kishkinda Kandam had missed out on the Kerala state film awards. Were you disappointed?

We are not chasing awards. Independent expression of our craft and creative liberty are the most important factors. A free mind is the tool we need to produce our best results.