Considering the scale, including budgets, locations, sets, and crew, it was huge. Maintaining quality storytelling under such tight schedules is never easy. In such a scenario, you cannot rest. You wake up with the sole intention of going to work. Bodies waver, and there is fatigue, but momentum is everything. After the first schedule in Thoothukudi, I noticed the energy dipping. I called the team and gave a pep talk. We still had 70 per cent of shooting left. I reminded everyone of our intention. Suddenly, the pace picked up, and at one point, we did not even need a wake-up call. That is the spirit cinema requires.

It is all about creating a support system. You motivate each other. The body and mind get exhausted, but the goal is to stay focused. Every schedule, every scene, we had to push ourselves while taking care of each other. That discipline defines whether a large-scale film works.

I was not looking for experimentation here. That was done with Max, which pushed me out of my comfort zone. With Mark, the challenge was scale and logistics. Vijay Karthikeyaa brought a story with emotional elements while maintaining entertainment. So it became an extended joy of Max, not an experiment. The emotional connection at the end ties the film together.

I am enjoying it. There is a posture in this role that feels comfortable. I can manage my costume and performance without worrying about glamour or makeup. The pace, gripping screenplay, and structured narrative make it satisfying. By the end, the film says something meaningful, which I really liked.

Vijay is talented, so giving creative inputs is easy. With Max, I had to contribute more because he was still learning Kannada cinema. He visited theatres, watched films, understood audiences, and learned what they expected. With Mark, my inputs were minimal, just small tweaks. But that hand-in-glove actor-director relationship is essential; otherwise, the film does not work. Vijay takes Kannada seriously, and that dedication shows in the storytelling.

The layers are complex. Some sequences give a small emotional edge, like a rough guy doing something tender. The indoor water sequence was intense, five days in cold water. My body cramped, I threw up, and the set needed cleaning daily. Those were very hectic days, but they gave authenticity to the film.

See, directors like Prem, AP Arjun, and Shashank keep on delivering. Sometimes, timing is the issue. For me, Prem is a great gentleman. I love and respect him. But availability is always a factor. AP Arjun is writing a story for me. I am happy when the director writes with me in mind. Mark came together ethically, with Sathya Jyothi Films and Kiccha Creations. Cinema is about aligning people, timing, and intention.

Time is everything. Earlier, we had 25 days of work and 10 days off. Now, cinema demands speed, discipline, and constant effort. Actors and technicians must do their homework. You cannot expect them to reduce budgets or scale. All you can do is match the pace. This is how production remains efficient and films reach audiences on time.

I cannot be monotonous. Posters, style, persona, and habits all need freshness. That was part of the design. I enjoy bringing subtle changes in the character’s personality.

Those sequences were demanding. Cold water, cramps, exhaustion. But it adds realism. As an actor, enduring those challenges is part of delivering the story convincingly. It is not just about performing. It is about experiencing what the character goes through.

Not exactly. Priya came in with her knowledge of cinema and business. Through KRG Studios, she handles distribution for Mark. It is her investment and expertise, not mine. If this works well, the industry will gain another serious distributor. This is the first step, and I hope Mark sets the benchmark.

I never pushed her to do things. She is talented and deserves the opportunity. For Mark, she sang 'Mast Malaika', and Ajaneesh Loknath praised her fully. Any new song, I encourage her to try. I want to support her dreams without forcing anything.

Within the story’s parameters, the female roles are strong and meaningful. There was no need to cast someone just for the timeline. Women contribute authentically to the narrative, and that is enough.

Vijay has matured immensely. He knows the audience, the language, and the nuances. With Max, he was learning. Now, the collaboration is seamless. He blends commercial elements with structured storytelling, and it is a smooth process.

Every project is about discipline, collaboration, and intention. Mark is fast-paced but carefully structured. It demanded physical endurance, mental focus, and emotional investment. Cinema is changing, and actors have to adapt, push themselves, and deliver. I am happy with the team, the story, and the way we kept our promise from July to December.