‘We think life will also have a happy ending, but for some people, it is not a happy ending… especially the victims and their family of any crime.’
IMAGE: Vikrant Massey in Sector 36.
With Netflix’s Sector 36, based on the gruesome Nithari crimes, Director Aditya Nimbalkar joins the ranks of contemporary film-makers.
“I’m a hard worker and try to keep learning,” he tells Subhash K Jha.
“I had a great script, a great cast and crew and wonderful producers (Maddock Films), and Netflix, who backed and supported the film. Of course, I owe a lot to my mentor, Vishal Bhardwaj. I have learnt so much from him.
“Bodhayan Roy Choudhary had written a great script. It was a unique take on the crime which explored the mind of not only the cop but also the criminals. More than a ‘who done it’, it’s a ‘how and why done it.'”
IMAGE: Deepak Dobriyal and Vikrant Massey in Sector 36.
Speaking of the pitch-perfect casting of Vikrant Massey and Deepak Dobriyal, Aditya says, “Vikrant knew of the script before I did, and he was very interested in playing Prem.
“Although he was nervous, he knew this is a role he could really sink his teeth into. I had no doubt in my mind that he would perform it exceptionally well, so we decided to go on this journey together.”
“Deepak sir was a suggestion by our casting director Anmol Ahuja and as soon as his name came up, we all jumped and asked him to call him. Deepak sir is better known for his comic timing but he’s also a wonderful dramatic actor and we knew he would be amazing.”
IMAGE: Vikrant Massey and Deepak Dobriyal in Sector 36.
The sequence where Deepak interrogates Vikrant is chilling.
“We had a great scene on paper. It was long but we were confident that if executed well, it can be something special. Saurabh Goswami (cinematographer) and I planned the scene in great detail with the actors,” Aditya says.
“There were some improvisations but every nuance and reaction was discussed and planned beforehand. Even on shoot, the treatment and execution was hard work and planning every detailed camera angle, movement etc.
“Improvisation is great and must be done but planning and hard work is needed as a foundation.
“Sreekar Prasad (editor) worked his magic on the scene beautifully and ensured the drama unfolded just right.”
The experience of making this series has left Aditya “shaken and very disturbed by the content”.
“I was very anxious shooting some scenes, but we must be professionals and do what the film requires us to do,” he says.
“Sometimes, stories don’t have happy endings, some stories are tragedies. That’s the harsh truth. Popular cinema has spoiled us and we think life will also have a happy ending. But for some people, it is not a happy ending, especially victims of crime and their families.”
