It would have been mid 1981 when I first heard about Mani Kaul. The following summer I would complete my undergraduate studies in English Literature, and I was toying with the idea of becoming a writer, without quite knowing where to begin. Mani was in Madras at the time to make a print of Satah se Uttha Admi at Prasad Labs and the Hindu ran an interview with him.
When Palghat Mani Iyer plays the mrdangam, Mani said in that interview, he is not simply playing the notes, he is constructing the silences between them. I decided immediately to apply to the Film Institute, as we referred to FTII then because I wanted to study in a place that helped me think like that. How I persuaded my parents is its own story.
I would meet Mani sometime in my first year when he visited the Institute, as we also referred to it, as if it were the only Institute on earth. I walked up to tell him my story and he laughed. You didn’t want to meet me, you wanted to join the Institute, he said, and took some of us out for lunch to a place Ritwik Ghatak used to take Kumar Shahani and him, he...
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