It began around 1986 or 1987 when I was studying for my pre-degree course. My father had started Ezhupunna Rekha theatre. I was in boarding school in Mannanam at that time. My only aim was to somehow return home and pursue cinema. I deliberately performed badly in my exams by writing film stories instead of proper answers, just so I could be back home.

From those days, I developed a deep fascination for Mammookka, even before he became the megastar he is today. Gradually, cinema became more than mere entertainment for me; it grew into an obsession. I began approaching several people in search of opportunities.

My first proper film appearance was P G Viswambharan sir’s Irikku, MD Akathundu in 1991. In the beginning, I didn’t receive much encouragement from my family in general, especially my uncle and actor Rajan P Dev. He felt I should focus on our family business instead. But for me, acting was always the priority.

Yes, I had approached him with great hope. He told me my face was not suitable for the cinema. He mentioned my lips, and said I might not fit masculine roles. He advised me to consider other areas of filmmaking. Later, George sir told me that it was my uncle (Rajan P Dev) who had told him to say that to me.

My father was always sceptical. He wanted me to look after the family business. My mother, however, was consistently supportive. That balance shaped me. I have always been conscious of my behaviour and how I conduct myself. I share everything with my wife. We raised both our children to become doctors. I understand the importance of education. Recently, an interviewer asked me who my hero was. I said it was my wife. It came from deep within me. And when they asked who the superstar was… I have acted with Mammootty, Mohanlal, Vijay and many others, but my superstar is Jesus.

After Kumbalangi Nights, I have done around 10-12 films of that nature. Well-made, content-driven films. My role in Vishesham, too, was well-received. Vavachan in Koodothram has been written the same way. It will connect with people emotionally.

Koodothram has elements of myth and horror, but at its heart, it is a family drama. It is driven by emotion. The story is set in a place called Vellimala, one of the most beautiful locations I have seen. The narrative revolves around it. M R Rajakrishnan, who worked on Kantara, is handling the sound mixing.

I believe that if you can hold the audience from reaching for their phones in the first 10 minutes, the film will work. Why were Kireedam, Spadikam and even the recent Thudarum such big successes? Because of that emotional connection. When I read the script of Koodothram, I felt many such moments.

After KQ caused a huge financial loss, I had decided that I would never produce a film again. But looking at the current times, I realised that if the subject is good, people will accept it. Twelve years ago, content-led cinema was not the norm. Earlier, the lead actor was everything. Today, the subject or the content is the hero. That is what I believe in as a director and producer.  When I first spoke to distributors, they said, ‘Let’s just release it in 50 or 60 theaters.’ But after I showed them the trial visuals, they immediately changed their minds and said, ‘No, we can definitely do 200 theaters.’

I have worked in about 300 films. Of these, about 50 projects were with legends. In recent times, I  have worked with directors like Lijo Jose Pellissery as well. Working with them was a huge blessing. I quietly observe the directors on the sets even if my portion is over. The directors I have worked with are my gurus.

About 12 years ago, when I directed and produced KQ, the industry was different. Films were hero-driven. The timing was wrong. There were people within the industry who did not want it to work. Today, the biggest hero is the audience. If they like something, they will make it successful. There are no fixed superstar images anymore.

The story was good, but I did unnecessary stuff. There were six songs, a wig, cooling glasses, looking like a superstar, caravans, and people with umbrellas around me. When I lost money, I realised the mistakes. Sometimes we get carried away, right? The film world can be a delusional paradise.

I share good personal relationships with both. The first look poster of Koodothram was released on their pages. Even DQ (Dulquer Salmaan) did so. This is a result of years of trust.

Since the time of Devasuram, I have had a good relationship with Lalettan. I had been on the location, initially called in to play one of his gang members. But it didn’t work out. I played Neyyattinkara Gopan’s driver, Rambo, in Aaraattu. So, yes, I am close to Mohanlal, but the relationship has been more professional.

With Mammookka, my relationship goes beyond cinema. I have travelled with him abroad, shared meals, and spent personal time together over the years. My family has been into pisciculture. Mammookka loves seafood. I often make delicacies for him. Once, during the pandemic, I took some homemade dishes to his house. Mammookka told me he was allowing a visitor into the house only because it was me.

Similarly, during the shoot of Madhura Raja, I was bitten by a snake while taking homemade food to the set. When he came to know about it, he showed deep concern. He was upset and scolded me for not being careful. On my daughter’s wedding day, Mammookka was busy shooting the climax of a film. Many people told me he would not make it, but Mammookka turned up on time. That meant a lot to me. For me, Mammookka is like a father, a friend, and a brother.

We had five stunt scenes. In the first one, I had to kick Mammookka right in the face. During the first take, my timing was off and I really hurt his face. Thyagarajan Master, who handled the stunts, snapped and said I might be shunted out. But Mammookka was quite cool and accommodating. He just laughed and asked, 'Nokki cheyyande?' That’s how our relationship began. And it continues till today. I feel the love he has for me, like a father loves their child.

When I acted in Vijay’s films Kaavalan and Velayudham, I got noticed in Tamil Nadu. Kaavalan, especially, was unforgettable. Usually, Vijay’s characters never get beaten up by any goondas, but in Kaavalan, there’s a scene where I knock him out. I went out once after the release and was surrounded by a small mob. One of them shouted, Idhu namma win star! Vijay fans have nicknamed me ‘Win Star’ (laughs). That support still continues. Even now, Vijay fans across Kerala have come forward to support Koodothram.

I have felt sad at times, but I believe there is a right time for everything. I have witnessed the take-off of many people in this industry. Anwar Rasheed was an assistant director of a film I produced. Similarly, when I was doing My Dear Karadi, Kalabhavan Shajohn came as a body double for the bear. Had no dialogues. Later, he was given a role as a henchman of my character, Rosario. Shajohn asked me, “Chetta, please get me at least one dialogue.” I made sure he got one. Now, when I see how far Shajohn, Joju (George), or Chemban Vinod have come, I feel happy and proud. When I was doing Friday, Chemban, who had a minor role in the film, used to proudly tell everyone, “That’s our Baiju chettan”. I am still here, and I have no complaints. In 36 years, there hasn’t been a single year when I did not have a film. That’s enough for me.

Another example is Listin Stephen. I have known him since the very start of his career. When he was starting a distribution firm in Kottayam, he came to see me. He wanted my support. I took a real liking to him. He would visit my home, eat with us, and we had a great connection within our families. I introduced him to director Rosshan Andrrews during a shoot in Thodupuzha. As we were wrapping up, I asked where to get good parotta and beef. Listin said he knew a great place and volunteered to go buy some for us. At that point, he hadn’t produced anything. Today, that same person is a top producer and owns over 60 screens. That’s the magic of cinema. You can never look down on anyone. You never know when someone will take off. The same applies to falls as well.

When I met the writer, Syam Pushkaran, on set, the script mentioned just one line: “Nammal orey thoovval pakshikal aanu (We are birds of the same feather)”. Syam later explained my character’s background — he was married, living comfortably, while his wife was away working abroad. That premise immediately registered deep within me — the inherent pain a man feels when his wife has to work away from home to provide. I got the emotion right in the very first take.  

Another role I really liked was Thanseer, the fans’ association member in Traffic. I have a deep admiration for Mammookka fans, so I knew exactly what those fans do. That was the template I had in mind. I just brought that real-life observation to the screen.

In my hometown, I formed a club called Hundreds — 99 youngsters from different local clubs that were always fighting, and me as the 100th. Within two months, I had formed 48 such clubs, totaling 4,800 people. Political parties approached me to bring these clubs into their fold, but I refused. If you are an artist, you need to keep some things a secret. To an artist, the audience is the biggest thing. And the audience is made up of people with different political moorings. One should respect that. I have my politics, but who I vote for is known only to me.

Koodothram has two parts. We have already locked the script for the second part, titled Veeramalyan. The first film ends in a way that leads into the second. Then there is a multilingual project called Maathangi.  I'm directing that one as well.