In the early 2000s, Neelakanta ushered in a small wave of change with films like Show (2002) and Missamma (2003). These films, among a few others by the director, explored a different subject while catering to the mainstream audience. Neelakanta continued to make films with similar blends, with varying degrees of success.
23 years after his debut, the veteran filmmaker talks to CE about his journey in the Telugu film industry, what he appreciates about producers like Dil Raju and Nani, his writing process, and more.
Excerpts:
With films like Show and Missamma, you brought a new sensibility to Telugu cinema while maintaining a commercial element. Do you feel the newer crop of filmmakers are able to bring that to the table?
I see a lot of change in Telugu cinema. Take films like Balagam, Virupaksha or the recently released Court for example — filmmakers are doing plenty of experimentation, and the trend is moving towards the better. In 3-4 years, I feel the growth is going to be even bigger.
What’s your take on OTT’s impact on mainstream Telugu cinema?
OTT has undoubtedly broadened the audience’s taste for cinema. Malayalam films are now famous all over the country. OTT is very helpful in promoting younger filmmakers, while also providing alternative markets for producers.
And yet, the audience often thinks, “We can watch the smaller films on OTT, so why spend money on them at theatres.” The challenge is to create a theatrical drive for smaller films.
You made many films without big stars which still brought in audiences. Has the scenario changed now, you think?
I don’t think so. You see, they came for Balagam, Virupaksham. I feel the audience is willing to come in — except it’s a bigger challenge for smaller films. From the trailer to the reviews, everything has to look perfect for the audience. For star-studded films, they just arrive in throngs.
At the same time, big banners too are beginning to back content-driven films. Producers like Nani and Dil Raju, are now taking better on smaller films. The change is visible.
Can you take us through your writing process?
There are various forms in which I derive my material. Sometimes it comes from my own experiences, or if I watch something, an idea may germinate in my head. Once I take up an idea, the pen starts to flow (smiles). The key is to keep your eyes and ears open and focus deeply on something.
Do you ever rewatch your movies?
Not immediately after the release, but I always watch my films later… after 3-4 years. It’s always good to revisit your work – to relook at what you did well, and what you didn’t. I keep learning from my mistakes, and how to correct them. That thought is always in the back of my mind during the rewatching.
Which films of yours are you most satisfied with, all these years later?
Virodhi, Missamma, Maaya. I am also very proud of Show, which marked my debut. I think I have done fairly well in my career (laughs).
How do you think a film festival like Red Lorry Film Festival can add to the cinema-loving culture of a city like Hyderabad?
OTT is of course the main medium this way, but viewing a film in a theatre will remain an unbeatable experience. Also, besides giving us access to a wider spectrum of movies, they help us get in touch with others from the film-loving community, from different parts of the country — that’s why they call it a festival.
Can you tell us something about your upcoming projects?
I directed the Malayalam remake of Hindi film Queen. Unfortunately, it is lying in the cans. Meanwhile, I am writing another script for a drama. I am also working on my first Hindi project; let’s see where it goes.
The trend of re-releases is in again, big time. Do you think about re-releasing any of your works?
It’s in the hands of producers, obviously, but I wish Missamma can be re-released in theatres again. It will have a huge audience, I feel.