Four years after his blockbuster spy thriller, Sardar, director PS Mithran has returned with a follow-up that serves as both a sequel and a prequel. Sardar 2 has all the trademark elements that typify Mithran's cinema: a socially relevant subject with a message, an evil villain, systemic injustice, and heroes trying to save the day. Karthi is back in dual roles, alongside returning cast member Rajisha Vijayan as well as new additions SJ Suryah, Malavika Mohanan and Ashika Ranganath. In an exclusive conversation with CE, Mithran discussed collaborating with Karthi and SJ Suryah and composer Sam CS on Sardar 2, his previous work, a label people often attach to him, a childhood habit that shaped his creativity, and more.
Excerpts:
Did you think of making Sardar 2 right when you started the first film?
It wasn’t decided initially. On the first day of shooting for Sardar, a jail sequence with Karthi sir, we felt this character had enough depth to sustain multiple stories. Any great or successful sequel starts with an excellent character. We may do a spinoff with just the plot or world-building, but a sequel demands character continuity. Sardar had that potential.
Did you feel the pressure to recreate Karthi’s father character while ensuring continuity?
I passed that pressure to makeup artist Pattanam Rashid (smiles). In the first part, Sardar looks ungroomed and grizzled as he is fresh out of jail. For Sardar 2, I only told Rashid that since four years have passed, the character should look well groomed, and he executed it perfectly.
SJ Suryah’s spontaneity during promotions really resonated with the Gen Z audience. What was it like working with him on set?
He makes those on-the-spot counters only in interviews. However, when it came to the film, he was completely well prepared. Regardless of the scene, he would work meticulously and without compromising on any detail, and he would not discuss the character on the day of shoot.
Since he is also a director, has he asked you about improvisations?
Absolutely, yes. He would also give many inputs. After all, cinema is a very collaborative effort. One person alone cannot complete a film. This is why I never credit my work as ‘A PS Mithran cinema’ or ‘A PS Mithran film'. I always stick to ‘directed by PS Mithran'.
What difference do you see in Karthi sir as an actor from Sardar 1 to this?
None at all. When I commenced Sardar 2, it seemed like the next schedule of the first part rather than mounting a new film (smiles). Karthi sir stepped right back into the role with such seamless continuity.
Many have drawn parallels between Karthi in Sardar 2 and Suriya in Karuppu? Fans call them ‘Murugan and Karuppan’. Did you anticipate their fans to make such divine connections?
Not at all. The Murugan concept was established in part one itself. Sardar keeps chanting ‘Muruga Muruga’ even after spending 32 years in prison, and it traces an arc from a theist to an atheist and back. It is an interesting character detail to explore. Since Karuppu released recently, some assumed that these aspects might be included in Sardar 2 as a nod to it, but this was planned long before. Further, we wrapped the shoot in July 2025 itself.
Suppose you pitch a story to Suriya sir, do you have any idea in mind about its genre?
I have discussed some stories with Suriya sir. Let us just say, ‘We are yet to land the right film'.
Sardar 2 marks Sam CS's 100th film. How was your experience working with him?
Sam is an extremely positive and vibrant person. No matter how much you criticise him, he would take it. If you suggest a change, he never gets defensive or insists on his initial output. He will simply say, 'Brother, I like this version, but let me craft an alternative so you can compare.' This makes working with him a jovial experience. Moreover, he is a fantastic music director.
Which department in this film did you find the most challenging?
Direction, without a doubt (laughs). Our job is to extract work from every other department. Each of them excel at what they do—a director should know when to get out of their way or when to give them a slight push.
The ‘rough note' element in Hero is something unprecedented in cinema. Have you used it in your childhood? Or did you come up with it through observations of your own children?
Rough notes were an important part of my childhood. I used to write stories, draw comics and even design board games on rough notes. I didn't know I was a highly creative person and would feel guilty each time I drew something on one, because the school didn't value it and didn't expect it from me. Only years after my school life did I even realise that my creativity stemmed from these notes. Looking back, out of everything from my school years, the rough note is the only thing that carries zero trauma for me.
Do you have any idea of reuniting with Sivakarthikeyan sir?
Most definitely.
Would it involve any scam, given the label people tend to associate with your cinema?
Do I look like a scam artist (quips)? Where is the scam in Sardar? Just because I discussed some real-world frauds in past interviews, people treat me like I keep a stock of scams ready at home. I don't get why everyone keeps calling me a 'scam director'!
Which film did you enjoy quite a lot in recent times?
Ever since I came into cinema, I started watching films from an analytical lens rather than as a layperson. Even so, I could mention Parasite, Weapons, The Substance, and One Battle After Another as some of those films I recently watched and enjoyed. Theatrically speaking, I liked Karuppu much and watched it twice, and Good Bad Ugly offered an amazing experience.
The audience tends to respond differently to a film after watching it theatrically and on a streaming platform. What is your view on this?
It is neither good nor bad for cinema but the reality of modern viewing habits. Both offer different experiences to the viewer. Often, the theatrical ambience elevates the experience. However, the way you process a fillm on OTT and the attention span you devote to it will differ. This explains the different audience response to the same film, depending on where they watch it. I experienced this with both Hero and Sardar. For example, some criticised the first 40 minutes of Sardar after watching it in theatres, while when it released digitally, many told me they liked the film much.