Being a commercial filmmaker, theatrical success is crucial to fuel my journey forward. Prakashan Parakatte was a profitable venture for its producer. Though Anuragam couldn't make as much profit, we managed to recover its budget. But this is the first time I'm getting such an overwhelming response from the audience. That's what every artist craves. More than box office success, I'm genuinely moved by the audience's love and appreciation.

As a filmmaker, I prefer to not repeat. Prakashan Parakatte was a realistic, familiar drama with a humorous tone, while Anuragam was a rom-com with entertaining songs, dance, and a pinch of Tamil sensibility. Different genres, new learnings, and that keeps me excited as a student of this art form. I would like my filmography to be unpredictable.

It is tough, but with this film, I sensed the potential as soon as I read the screenplay. Subramanian sir, a policeman himself, has been a good friend ever since both our first films, Prakashan Parakatte and Heaven, were released on the same day. When I got this script from him, I knew it was a sure-shot hit if I, as a filmmaker, managed to convey the same high I felt while reading it. The key was handling the revealing points and deciding what all to show. I also felt that if we could forge stronger emotional layers for the characters, the impact would be bigger. It was vital for the audience to root for the characters rather than just throw twists and thrills at them. We also reworked the climax, as the original wasn't fitting enough for such a brilliant screenplay.

I want to view it through a purely cinematic lens. But that said, we live in a world where people have committed bigger crimes and walked free. In this scenario, we can't justify anyone. Some might think the cops deserved to be punished; some might feel that guy deserved to die. As a creator, I'd like to leave it to the viewers and their interpretations. I don't wish to give conclusions. As a commercial filmmaker, I strongly believe the climax needed to be that high.

No, I didn't think on those lines. This story doesn't demand that kind of exploration; it would have only created excess drama and confused the audience about who to root for. That's why we don't get into the motive of the guy, his accomplice, or any such details. Right from the outset, we only wanted to tell Aleena’s story and how she overcomes this crisis.

Parvathy was my first and only choice for this role. I've heard how she asks questions about the character and her emotional trajectory that might not be in the screenplay. But I see that as an advantage because the more she questions, the more clarity I get. I had answers for all her queries. We had created a backstory for Aleena even before meeting Parvathy, detailing where she comes from, her family, traumas, love life... It's a character with lots of emotional variations and layers, but she handled it expertly, making my job much easier.

It's just a part of my evolution as a filmmaker. With every new film, we learn and unlearn. This film demanded such an approach to ensure the drama and dynamics between characters are effective. We worked on backstories for all major characters, including Azees Ikka's, not just Parvathy's. That way, the characters feel well fleshed out. It doesn't matter how much of it makes it to the final film, but creating a detailed graph helps root these characters.

I feel the baggage of stardom could have backfired for this role. Kuttettan (Vijayaraghavan) brings a different flavour altogether. He brings both unpredictability and the wealth of experience. Haris Meeran is sharp, intuitive and goes about his job quietly. His body language, glances, and minor gestures all have some meaning, but wrapped in mystery. You never know what his next move will be. In fact, the film's pacing mirrors this character's arc. The pacing increases as he gets closer to his targets. Every time they outsmart him, his male ego gets triggered. As a celebrated officer, he is also obsessed with leaving no blemish on his service record. All of this pushes him to go to any extent, even if it means resorting to unethical tactics. Such layered characterisation demanded an actor of Kuttettan's prowess. I also needed someone who would trust the filmmaker; otherwise, you can't give equal prominence to both Meeran and Aleena.

Aleena mostly suggests options before the group reaches a decision together. For example, when she initially suggests using soap to wipe off the bloodstains, it is Unnimaya who says bleaching powder would be a better option. Similarly, Dasan (Sidharth Bharathan) takes it upon himself to dispose of the body. Dasan's initial reaction is to back out and not get involved, as he feels that, being women, they can get away easily. Only after checking the CCTV footage does he decide he can't get away like that. All four of them are caught off guard and react differently. Even Aleena becomes proactive only after she gets a call from home and hears her daughter's voice. The characters' decision to stick together is gradually built.

I think it's the stretch leading to the interval when Haris Meeran questions the four and starts growing suspicious. As a maker, I felt satisfied with the controlled performances and how well the scene was staged within such a confined space. That sequence is a film in itself, with so much tension, highs and lows. I had originally planned to reveal the title card by the end of that sequence, but it was editor Chaman Chakko's call to place it right when the gunshot is fired. A brilliant decision, I would say.

We did the spoon-feeding intentionally because we have to consider a wider audience. Most of what happens in the climax is new to our audience, and if it doesn't come across effectively, they won't feel the high by the end.

Drishyam is a benchmark film, so comparisons are inevitable every time a film treads that space. The audience might have felt the same tension, excitement, and relief, and to be compared to a film like that is in itself a recognition I'll always be proud of.