Kalpana Lajmi

“I set out to assist two amazing filmmakers Sai Paranjpye and Kalpana Lajmi, both torchbearers of qualitative cinema. Through them I had a solid foundation to understand cinema and its intricacies. With Sai Paranjpye I learnt to use everyday humour, and with Kalpana Lajmi I learnt how to envisage a grand mise-en-scène. (After completing a course in film appreciation at FTII Pune)”

“Kalpana was an amazing raconteur, who brought any incident or story to life in front of your eyes. It was visual, you could sense it and taste it. A passionate person, who had a great sense of humour and enjoyed laughing at herself and her own foibles. She was a people’s person and loved to make friends. She filled the room with laughter and positivity. (As to how the prolonged illness had not seriously dented Kalpana's vivacity till the end)”

“I am itching to get back to filmmaking. The industry has changed so much since I last directed a movie. Those days when my films like 'Ek Pal' and 'Rudaali' were so appreciated, now seem remote. We've gone from the era from Mahesh Bhatt to the era of Alia Bhatt. And I'm proud I know both of them as wonderful human beings. It's been a wonderful journey. I've enjoyed every minute of it. And I am not done as yet. (hopes of recovering from Kidney Cancer and returning to filmmaking after a long hiatus)”

“Well, my kidneys have failed. I haven't (laughs). (discussing her Kidney Cancer)”

“Bhupso (Kalpana endearingly addresses Hazarika as Bhupso) did offer to marry me two years ago, but I said no. May be he wanted to give me the status of wife, but I was not interested. For me, the relationship, the trust and the respect that we share with each other are more important than marriage. (discussing her unique relationship with Bhupen Hazarika)”

“Situations like the one showed in Ek Pal exist in the lower classes and the upper classes and are more easily acceptable. It is the middle-class who gets horrified. It is the middle class who wants to act out, but can’t. (discussing the themes of adultery in the film and morality of the middle class)”

“Strange. I have never been consciously feminist. I am more a humanist. I like dealing with the situation of the underdog and, somehow, I feel women are such a minority in this country. Also, I feel if my voice can be heard, why shouldn't I highlight their situation and create awareness and hope? I'm not consciously making women-oriented films. Maybe, subconsciously, the feminist inside me veers towards highlighting women's issues. (when asked if it was a conscious decision to concentrate on women-centric films)”