Sandra Thomas: It's true that drug usage is rampant in Malayalam cinema

In the wake of a controversy in Malayalam cinema, while most celebrities prefer to stay tight-lipped or diplomatic, someone like Sandra Thomas is a journalist’s delight. A fervent and forthright person, Sandra, unlike her peers, likes calling a spade a spade.

The producer, who backed popular films like Aadu, Zachariayude Garbhinikal, Philips and the Monkey Pen and Adi Kapyare Kootamani, is now set for a comeback with the all-men starrer Nalla Nilavulla Rathri. In this conversation with TNIE, Sandra is at her uninhibited best as she reacts to pertinent topics, including the male ego, and film bodies’ decision to distance themselves from actors Shane Nigam and Sreenath Bhasi, and allegations about the drug menace in the film industry.

Excerpts:

Please tell us how you embarked on your first project...

When Sajid Yahiya (filmmaker) approached me with his cousin’s story of Friday (2012), I liked it. At that time, I didn’t know anything about the process. I wasn’t very serious. I thought if it didn’t work out, I might give it to someone else. I simply wanted to learn about the process. I had with me an amount sufficient for an actor’s advance payment. There was a point where the project got dropped, and we felt dejected. However, I kept at it because I was familiar with the true incident that occurred in Alappuzha.

 
Then I approached Vijay (Babu) at Surya TV, who initially didn’t show support but was willing to carry half the burden if I got the date of Fahadh Faasil. Fortunately, for us, he was in, and everything fell into place. The rest is history.

How do you pick your subjects?

I’m not too choosy. I’m open to all kinds of stories, as long as they pique my interest. But before I give the green light, I discuss it multiple times in my close circle, and if they respond the same way, I know that I can go ahead with it. It’s not a decision I can take alone. After all, cinema is consumed by a lot of people.

Have you ever made a movie whose script you didn’t like, but you did anyway because people around you liked it?

There was a time when I did that. When working at Friday Film House, some of those decisions were wrong and some right. Vijay and I even used to fight about it. We used to always have different opinions on everything. Right now, it’s just me who is deciding. So things are going okay.

As a female producer, how did you feel about the impact of gender when you got into the industry?

It’s an ongoing challenge that began with my first film. It’s usually people who have worked in all these companies that understand office politics and people management better. Since I’ve not, it was difficult for me. I plunged into this business straight from college. I’m straightforward. I can’t be diplomatic. I don’t understand the behind-the-scenes games. Though these problems have reduced now that I’m in a certain position, one has to deal with newer problems, considering the involvement of a woman. 
It’s not easy to handle the egos of men who don’t like questions, unlike if it’s a man doing the same. We have to take double the efforts of what men do; only then do we get recognised. But there is a thrill in that – to be part of a male-dominated industry and manage everything is a matter of pride for me. When I first started, I got a warm welcome from all corners. They saw a woman doing a film alone with respect. But the attitude is still along the lines: “She can share the dias with us, but she shouldn’t dare to question us.” 
I still feel the Perumthachan effect to an extent. I think all problems would disappear if everyone sees each other as equals. Everyone wants to survive. There have been instances where your self-respect is tested and, in such cases, you can’t help but choose that over money. If someone treats you with disrespect, it’s better not to work with that person again.

How do you look at the difference between a female producer and a male producer?

Well, it’s easier for men to find projects when they hang out with others. The approach is quite different. If I tell someone not to do a particular thing, they will be offended. But with a male producer, they take it naturally. How dare a woman say no, right? Also if some issues happen, it’s easier for men to solve them. They clap each other on the back or hang out in the evening. But for a woman producer to solve such an incident, a third party is necessary, or we have to go and apologise.

Some directors prefer not to hire female crews on the set fearing untoward incidents. Have you ever thought like that?

I don’t mind. Also as a woman, I find it easier to deal with women than men. But it’s true, issues can happen, especially since women are a bit more sensitive. And if it’s an all-women crew, there won’t be any issues.

How far has the producer in you evolved from your Friday Film House days?

When I was heading Friday Film House, I was like an impulsive teenager who reacted to everything very emotionally. It used to take a toll on me. I didn’t know how to deal with people. But a lot has changed post my pregnancy and motherhood. Today I’m a much more compassionate person. I’m a strict producer, but outside work, I’m very friendly. I wish people would just accept me for what I’m. Anyway, I don’t have any plans to change myself to please others.

You are known as an outspoken person. Has this quality affected your career?

Yes, it did affect my career. But today, I also realise that many people, particularly women who face gender bias and struggle hard to balance work and personal life, are able to connect with me. Those within the industry are also gradually acknowledging me and my words. While these are pros of being an outspoken person, there is an equal share of cons as well. At times, I can be really harsh, and that has caused a few rifts. So my outspoken nature comes at a cost.

The current raging topic in Malayalam cinema circles is uncooperative actors. What’s your take on this issue?

Truth be told, it’s a nightmare to handle uncooperative actors. I prefer being straightforward and transparent. While hiring actors, we send them the script first. They agree to be part of the project after reading the script, right? So there’s no question of ordering any alterations during a shoot. But in Shane Nigam’s case, I don’t know what’s wrong with his request to check the edited footage. It becomes a problem only when he tries to be involved in the process and demands modifications according to his wish.

You were one of the very few who voiced support for Shane Nigam...

I see Shane as a youngster with a bright future ahead. But all these controversies can affect his mental health. I’m genuinely concerned about him; probably because of my motherly instincts. I’m still not sure what transpired at the sets of RDX. It might be some silly ego conflicts. It’s common in multi-starrer films where makers pitch scripts to each actor highlighting them as the hero. But once these actors start shooting and realise the extent of their prominence, it becomes a problem. 
I guess that’s what happened here as well. But whatever the issue, it shouldn’t have been laid bare for public scrutiny. It should’ve been solved amicably within the confines of the association. The mails sent by Shane and the producer (Sophia Paul) got leaked and further aggravated things. There’s absolutely no confidentiality to the proceedings. Then what’s the role of these associations?

Would you dare to cast Shane Nigam or Sreenath Bhasi in any of your upcoming films?

I’m not sure about that. As far as I know, the film bodies have reached a consensus with the exhibitors ensuring that films with Shane Nigam or Sreenath Bhasi don’t get released in theatres. These are influential people who can also block the digital and satellite rights. As a producer, how can I invest in a film with them despite knowing that I won’t be able to recover it? Cinema is ultimately a business. I can’t put myself in trouble for the sake of helping others.
 
And what about the widespread accusations of drug usage in movie locations?

It’s true that drug usage is rampant in Malayalam cinema. It’s high time we controlled it because there are plenty of issues associated with it. People who take these drugs don’t sleep at night, so they’re always late for the shoot. We also don’t know when they’re sober. They’ll nod at all our instructions, but they won’t be listening. They keep forgetting the time and dates. At the end of the day, it’s the producer who suffers.

Did you think twice before setting up your new production house?

Not once, a hundred times. I wasn’t that interested in coming back. I even thought I wasn’t an apt person to work in cinema. It’s a very stressful job. I put on a lot of weight because of my stress eating. So I never wanted to come back. But my family loves movies, and they constantly encouraged me. When I was taking that gap, I used to wonder about the purpose in my life. Taking care of my children and raising them? They will grow up anyways. I wanted to do something. Then I thought, why not give chances to newcomers? Help them survive and sustain in the industry. It’s very hard to enter cinema and it’s even more difficult to survive here. So I wanted to be a bridge in that space. Be it actors or technicians, I wanted to give them an opportunity. This wish is what made me come back to the cinema. Right now, I believe this is my life purpose.

Nalla Nilavulla Rathri is a thriller, your first foray into the genre...

Of late, we have been seeing a lot of women-oriented films. I wanted to do something for men. Also, my husband happens to be a thriller fan. I’m not necessarily making it for him or other men; there’s just a space for it—the all-men movie swirling around their lives and celebrating their friendship... It’s an edge-of-the-seat thriller.

Do you think OTTs are helpful?

Of course, they are. It’s one more new platform. But the same problems continue with OTTs that we have faced during theatrical releases. When we approach them with a film, the first question is, “Who is the lead?” They don’t want to know the content or the story. Be it satellite or OTT, the industry is actor-driven. That is one of the major reasons producers are not bringing forward new talents.

What is the one primary need of the Malayalam industry?

Good writers. We lack people who read a lot, who lack life experiences... So I think good writers who also read are what we need the most. And more women should enter the industry. Only then will there be a real change.

Have you ever regretted when a script that you rejected became a hit?

No. When I reject a script, I always say, this doesn’t work for me but that doesn’t mean every producer will feel the same. Someone else would probably like it, and they should approach others.

Was there any project you were interested in but didn’t take off? Like Ohm Shanthi Oshaana? You were supposed to produce it initially...

I was really upset when that happened. It was during the days of Friday Film House. I framed the apology letter at my office. I was not angry at Midhun (Midhum Manuel Thomas). But I didn’t want to do another project with him soon.

However, he approached Vijay with a story for a short film. But Vijay wanted it to be a feature film. They didn’t tell me initially fearing my reaction. When I came to know, I was really angry at Vijay since he knew how the incident of Ohm Shanthi Oshaana affected me.

But then he told me, “It’s just business; why be angry at someone for a long time?” To be frank, I enjoyed the entire shooting of Aadu (directed by Midhun). It’s probably the most enjoyable film I’ve worked on. But what Vijay did upset me. Because you don’t expect your business partner to be ready to work with a person you’re not exactly fine with.

(TNIE team: Cithara Paul, Sajin Shrijith, Vignesh Madhu, Krishna PS)