Prakash Sayami is a key figure in the Nepali film industry, with a good understanding of its history and workings. We met at his regular spot, RoadHouse in Pulchowk, for a 30-minute conversation. Even though it was short, it was effective.

Sayami has directed six feature-length films, contributing significantly to the industry. He has also authored eleven Nepali and English books in cinema and music.

In this chat with the Post’s Aarya Chand, Sayami discusses his journey from writing love letters to becoming an author, creating films, and the challenges for creative artists.

What inspired you to write, and how has your journey as an author evolved?

My writing journey is shaped by meaningful life experiences, mostly positive ones. It all started with writing love letters, but as time passed, I moved towards literature.

I began writing during my school years, and one of my short stories was even featured on Radio Nepal's ‘Bal Karyakram’ programme.

You’ve worked in FM Radio for a long time. How do you view the role of radio in promoting literature and culture in Nepal? Can it be an effective medium for reviving interest in Nepali literature, especially among the youth?

FM serves three primary purposes: to educate, inform, and entertain. When all three are mixed, confusion results, which is what seems to be happening in the field today. However, FM can still be effective for promoting literature if it focuses on activities like book recitations and essay readings. Although it’s not legally allowed, it could function with proper permission.

What themes or ideas do you feel are left unexplored in your writing?

I want to write a travelogue that captures the essence of the places I visit—the architecture, the emotions they evoke, the sounds I hear, the statues in museums, and my realisations—rather than focusing on chronological details.

I also aspire to write my autobiography, but the idea feels frightening because it demands absolute truth. As the popular saying goes, ‘Of all that is written, an autobiography can only be written when a man pours his blood from his heart.’

This level of honesty feels risky, especially when considering real-life examples like Harivansh Rai Bachchan, the renowned Indian poet and writer celebrated for his role in the Nayi Kavita movement in Hindi literature. His four-volume autobiography strained his family relationships, much like Turkish novelist Orhan Pamuk, who explored Turkish identity in his works. Pamuk’s depiction of personal and family experiences in ‘İstanbul: Memories and the City’ caused a rift with his mother, who stopped speaking to him. Such examples highlight why I often feel writing can be an unsocial profession.

How would you convince a reader unfamiliar with Narayan Gopal to read your book, ‘Swarsamrat Narayan Gopal’?

I wrote this book mainly for the younger generation, as many are unfamiliar with Narayan Gopal, and even some contemporary singers know very little about him. In the book, I’ve tried to portray not just the black-and-white aspects of his life but also the grey areas, highlighting his immense potential. Many songs we hear today might be copies of his originals, so why not appreciate the authentic ones? I also wanted to shed light on the struggles one endures to become a singer.

How do you balance writing for artistic expression with meeting the demands of commercial appeal, especially in the context of films and literature?

I have written for many commercial movies. Rajesh Hamal’s iconic, “Saathiharu ko lagi yo hath salam ho, dushman haru ko lagi yo hath falam ho,” was said in one of my films.

My film features the famous song ‘Ukali Orali Gardai’, which marked Indian singer Sonu Nigam’s debut in Nepali cinema. I also introduced artists like Jal Shah and Miss Nepal Jharna Bajracharya through my projects.

As you mentioned, writing for movies and literature are two distinct forms of expression. Film is mass media, appealing to a broad audience, even those unfamiliar with the context, while literature is targeted media. However, both require the same dedication. As the saying goes, ‘Either you go down or bring the reader up.’ As writers, it should be our responsibility to strive for that connection and uplift our audience.

Prakash Sayami’s book recommendations

Abstract Chintan Pyaj

Author: Shankar Lamichhane

Publisher: Sajha Prakashan

Year: 1967

Lamichhane’s experimental book inspired me despite its challenging essay format. Remarkably, decades later, it is still relevant.

My Story

Author: Kamala Das

Publisher: Sterling Publishers

Year: 1973

In this autobiography, the author reveals her raw and unflinching perspective on love, desire, and societal norms.

The Words

Author: Jean Paul Sartre

Publisher: Vintage

Year: 1963

This book discusses parents in a strained relationship, which the writer captures with the phrase, ‘My parents talk in silence’.

The Magic Lantern

Author: Ingmar Bergman

Publisher: University of Chicago Press

Year: 1987

Bergman uses the ‘magic lantern’ as a metaphor for the mirror that reflects light, which is essential in filmmaking.

Journey of a Thousand Miles: My Story

Author: Lang Lang, David Ritz

Publisher: Spiegel & Grau

Year: 2008

In this book, Lang, a young pianist, describes how his father was strict about his music training, insisting that he focus only on the piano.