A filmmaker’s mantra should always be munda, munda, munda: Ramesh Aravind

For someone who has lived through multiple phases of Kannada cinema, Ramesh Aravind doesn’t look back with longing; he looks ahead with curiosity. The actor, director and storyteller reflects on his journey with Bangalore Times, his thoughts mirror the city itself — constantly changing, yet deeply rooted.
‘FOR ME, IT’S ALWAYS ABOUT WHAT’S NEXT’
“Things change, techniques change, the way of filmmaking changes; but storytelling remains the same,” says Ramesh, adding that nostalgia, for him, isn’t about clinging to the past. He tells us, “I’m not the type who misses something. You appreciate your glories, keep them behind you, and move forward. That should be the mantra of any filmmaker — munda, munda, munda… what next?”
‘PRESERVING CULTURE IS THE CORE OF ANY REGIONAL CINEMA’
Entering the industry when Kannada cinema was discovering new voices and forms, Ramesh has witnessed its evolution closely — from black-and-white frames to digital worlds, and from single screens to personal devices. Yet, he believes the soul of cinema has remained unchanged. “At the core, any regional language cinema will always preserve its cul ture. Audiences may flirt with experiments, but they eventually return to stories closer to who they are,” he says. Calling time cinema’s greatest editor, he adds that what time leaves behind becomes culture. “Karnataka has collectively approved certain ideas over decades, and those settle into our subconscious. Stories that tap into that always work.”

'BENGALURU TIMELESS LANDMARKS SHOULD REMAIN UNTOUCHED’
Ramesh notes that Bengaluru, like cinema, has undergone dramatic changes, with films capturing its evolution. Once seen as a dream city, he hopes its iconic landmarks remain untouched. “You can never miss Vidhana Soudha or the High Court. Preserving such structures makes the city look better on screen — it feels odd when ugly build ings sit next to classic ones,” he says.

‘Kannada cinema is in one of its greatest phases’
Asked which Kannada cinema phase he would introduce to audiences now, his response spans eras. “Today’s KGF and Kantara phase is fantastic; it crossed boundaries we couldn’t. Every phase had something to offer.”

'Technology is just a tool; storytelling wins'
Technology, he be lieves, should never overshadow story telling. “Earlier, sev en actors stood in front of seven mics. Today, someone dubs in Paris, someone here — and it’s mixed on line. Black and white, 3D, drones, AI — these are all tools. Ultimately, the storyteller wins,” states Ramesh, adding, “When you first saw a drone shot, you were as tounded. Now it’s overused. You can’t rely on bling. In the end, it’s the close-up — especially the ac tor’s eyes — that matters most.”


‘There should always be a new giant’
What gives him hope? “The enthusiasm of youngsters. Every newcomer is a new hope. You never know — tomorrow’s giant is waiting in the wings. There should always be a new giant taking Kannada cinema to greater heights. That’s what we should look forward to.”