Shine Tom Chacko: Cinema gives me all the energy and high

After a long while, actor Shine Tom Chacko is reuniting with his mentor director Kamal, with whom he worked as an assistant director during the initial stage of his career. From his first job on the sets of Nammal in 2002, his first role as Basheer in Khaddama (2011), and now his centenary release Vivekanandan Viralaanu, Shine achieved many of his milestones through Kamal.

But the actor is not interested in numbers, instead what he craves is the high from donning a new role in the next film. In this dialogue, the uniquely outspoken actor speaks about the magic of cinema, his long career, his latest project and life learnings.

Excerpts:

You started your cinema journey in 2002 as an assistant director to Kamal. 22 years later, you’re reuniting with him for Vivekanandan Viralaanu, your 100th film as an actor. Do you think life has come full circle now?

Well, this may be the 100th film which is being released, but there are some other films that I have already completed. I don’t know exactly whether it is the 100th or not and have never dreamed or planned for a 100th film. It was always about doing one more movie. And slowly it turned into an addiction of sorts. I get anxious if I’m not doing anything for two days. What if no one calls me for another job? See, I am not the one creating these opportunities; creators have to offer me these roles. Otherwise, I’ll have to call them up and plan projects for me. That means I have to start calculating for the future. The problem with such calculations is that your creativity will be restricted. This is why when actors turn producers, their craft gets limited. They lose the freedom to experiment.

How did you become an assistant director?

As someone raised in Ponnani, the only time I saw a camera was during weddings. But still, cinema was an important part of our lives. I was smitten by cinema and acting from a very early age. Those days, actors were picked from school youth festivals. So I actively participated in everything. But I didn’t know how to enter the cinema. An actor is a nuisance to industry insiders until you establish yourself. Acting enthusiasts can’t assist anyone in learning the craft like how directors, editors, cameramen, and makeup artists do. So, I somehow had to enter the industry first. That’s why I approached Kamal sir, who was also from my hometown. Even while being an assistant director under him, my focus was always on acting. The hope was that whenever sir needed an actor to fill up for a junior artist, I would be there. And I waited for eight years. By then, I was part of the ‘crew’ and we started looking down on those who came asking for a chance to act.

You’re collaborating with Kamal sir after several years. How do you see his evolution as a filmmaker?

His energy level is the same. But the way he talks has changed. He often uses trendy words like ‘vibe’ (laughs). He had taken a brief break and observed the industry as a spectator. It has helped him because only when you stay away, you can see things better. When he told me about the subject of Vivekanandan Viralaanu, I thought he would approach it in his regular style and chose not to intrude into his space. Even while handling it in his own style, he has packaged it in a way that would appease today’s audience.

How would you define Vivekanandan Viralaanu?

People assume it to be a comedy film, but at the core of it is a serious issue. We may have seen films about married people having multiple other relationships. But no one has looked at their intimate relations. How is their sexual life? Have we ever spoken about it? Nobody talks about sexual interests while looking for suitable life partners. We’re more interested in looks, skin colour, profession and financial status. However, the whole idea of marriage is two people coming together, living together and creating another life.

But the truth is, there are married people who have never had sex, because either they are scared or think that it is a sin. Then there are those who don’t know how to do it, some lack interest in the partner. Why? Because we don’t have any way of understanding sex. It’s all restricted to a small chapter in Biology as part of sex education. But even then, we have no idea how to explain all these to the students. It is now that we are talking about adding sex education to the school syllabus.

In our society, women are molested. But there are men who get molested equally or more, especially when they are boys. These boys may not be able to open up about it because they wouldn’t know what happened or they are also in the quest to understand what sexuality is. Another truth is that a man who has relationships with multiple women is hailed as a hero or a Romeo. But a woman with multiple relationships is considered a bad woman. So the sex life of a man used to be considered macho, heroic, or an ownership. This idea has created a lot of deviance and perversion. Vivekanandan, the character I play in this film, is a mix of all this.

When you worked as an assistant director, how did you watch the medium, the people who worked in it, and the craft in general?

Until then, I did not have much of an inkling of the technical aspects. I initially assumed filmmaking is all about the camera following the actors wherever they go. But only after coming to the sets, did I understand that everything is not taken in one stretch but as individual shots. Another shock regarding technique was about close-up shots. I then understood that actors are made when they follow the techniques in cinema. Mammukka and Mohanlal are such great actors because they understand the technique and follow it with perfection.
In close shots, an actor need not perform much. But in wide shots, the body has to be used more. During close shots, Mammukka would squeeze his cheeks to make them look flushed. He has many such techniques to work with his face. He is beauty-conscious, too. I also understood that while shooting people always want to look beautiful. And more than being the character, they concentrate on beauty. As soon as a shot is announced, actors appear perfect, speak with correct pronunciation, and are spruced up. That’s why you see many actors lacking individuality and just aping Mammukka and Mohanlal. This phenomenon changed when Fahadh made his second entry. Till then, everyone used to act and speak the way Mammukka and Mohanlal would. Even I was into imitation in the early days. I just tried to enact what Mohanlal and Mammukka did, but since I didn’t look anything like them, people couldn’t easily catch it. But after I saw Fahadh acting on the sets of Chaapa Kurishu, I became more confident. Gradually, I started observing everything and tried incorporating what I learned through them in my performances. I consciously tried not to be ‘clean’. The natural state of sweating, unkempt hair, and wrinkled attire, all added more life to the characters. I learnt that we shouldn’t worry about beautification, but characterisation.

Have you ever felt the same admiration you have for Mammootty and Mohanlal for any of the contemporary actors in Malayalam?

I think I’ve felt that admiration towards Fahadh. A new actor was born after his second entry into the movies. Because he performed like Fahadh, we see his rage, romance, emotions, and laughter in the movies. I’ve seen such presentations only in the movies of actors like Sathyan, Soman, Sukumaran, Mammootty, and Mohanlal. But I think Fahadh isn’t as flexible as Mohanlal, he cannot pull off all kinds of characters, and he has limitations when it comes to humour, and dance. I believe Fahadh is someone who can give his best in thriller type of movies.

After observing all this and learning the techniques, did you lose the magic that sparked you as a child?

Yes, the magic of cinema was lost. Everything became shots.

What keeps you going now?

It’s true that watching films has become less interesting, but work is still something enjoyable. Now, I get the trip from making people believe there is no shot or cut. Same thing with a magician, I don’t think a magician will enjoy their tricks.

While working as an AD, was there any actor who deeply influenced you?

During my growing up days, I don’t think I watched any other language movies other than Malayalam, because our industry always had extraordinary actors. As a child, my favourite was Mohanlal, because every action of his comes with a unique style and they get easily etched into the mind. Whereas Mammootty’s style wasn’t as easygoing, he did more serious roles, I started looking up to him after movies like New Delhi, Nair Saab, King, and Amaram. I think that was because during the release of these movies, I was already an elder brother to my siblings, and I looked out for characters that gave the vibe of a valyettan and Mammootty did present a handful of them. Outside the Malayalam industry, it was Kamal Haasan who influenced me with his distinct portrayals. Back then, more than Rajinikanth, it was Kamal who inspired Malayalis. While working as an AD, more than the actors, it’s the techniques they employed that attracted me. After all, cinema is a trick.

Talking about tricks and techniques, many of your co-actors have mentioned that you are one of those actors who try to behave like the character throughout the shoot, is that one of your techniques?

I don’t think I have any other job in a shooting set other than being the character. I’m just doing my job, you get to be that character only for a short period of time, and I utilise it to the maximum. But I don’t remain as that character after breaking from a scene or after the shoot, maybe it’s what my co-actors feel. I try to bring in actions that suit the ambience of the scene. For example in Kurup, my character Bhasi Pillai, is often seen with a beedi, because during those days, it’s unusual not to see a man without a beedi. I just apply such detailings to my characters.

It’s said that Malayalam cinema works in cliques, making it difficult for an outsider to get an entry...

Gangs existed years back also, but it was the production houses. These days there are small gangs formed by directors and actors, which is not healthy for cinema. Also, many actors have begun their own production houses and are part of the technical side as well, in my opinion, actors are supposed to be on the creative side and if they take up these other roles, it tends to disrupt their craft and creativity. For example, if an actor runs their own production house, they tend to be calculative in their respective roles, every shot will be seen in terms of monetary aspect, which is something that has to be done by the producers. Such creative restrictions will disrupt the imagination and there won’t be any growth for the cinema. Independent producers have to come forward, who don’t have any links to other roles such as acting, direction, etc. The existing gangs in the Malayalam cinema are trying to make the craft as budget-friendly as possible; the films might turn out good, but if this pattern continues, there won’t be any growth.

You’ve always been controversy’s favourite child. Do you feel that you are sometimes misunderstood by society?

No, even in history, several people were often crucified for no mistake of theirs. For instance, a man who fought for our nation’s Independence was ultimately killed by his fellow countryman. The same goes to Jesus Christ who was crucified or Muhammad Nabi who was forced to exile from his home.

You’re known for your transparency and outspoken nature. Have you ever felt the need to be more diplomatic?

No, that’s why I present them humorously. It is like Chaplin’s films. When a child sees that, they will laugh at all the foolish acts of Chaplin. But when they grow, they can understand the politics behind it. If I am serious, you can imagine the consequences.

So, is this a calculated move?

No, I don’t plan or calculate anything in life. That’s not who I am. I believe a message will reach better if it is coated with a tinge of humour. But unfortunately, people tend to overlook the core message and instead dissect the jokes.

Despite the many criticisms hailed at you, what many people agree on and even laud is your adherence to discipline, especially when on a set. Is this trait an end product of your working as an assistant director?

Not really. I do it because that is who I am. I’m disciplined on the set, yes. But what I don’t get is people expecting me to behave in a certain way outside of it and, by extension, my life. My life is not their concern.

Few years back, you were extremely media shy and hesitant to speak. Is there any particular reason for this sudden change?

I believe there is a time for everything. Unlike then, I have more projects today, and people accept me for who I am. Imagine how people would have reacted had I said the same things during my initial phase in the industry. They would’ve dismissed me as some arrogant rookie. I started expressing myself more openly after earning people’s love and acceptance. I’ve heard many saying that I’m always energetic and spirited because of drugs. But the truth is, there is no drug in the world that can keep you awake all day. It’s cinema that gives me all the energy and high.

When did you realise that your inputs and suggestions would be valued?

I think it was after Annayum Rasoolum that I gained the confidence to give my input to the movie I’m part of. I don’t do it unnecessarily because I believe listening to directors’ directions can help a character to have a unique factor. When you look at the movies of Dileep and Jayaram, the movie will automatically become theirs, because it has these actors’ qualities. Whereas Mohanlal and Mammootty’s movies are not theirs, it is the director’s. While doing Unda, Mammukka used to share his inputs and if the director disapproved of it, the veteran would immediately follow the youngster’s instructions. I wonder how he does it. It’s not easy at all to obey someone (laughs).

Do you get affected by negative comments?

No, I don’t. Some people call me kili poyavan (laughs), but I’m fine with it. I’m someone who values freedom a lot. Everyone, including artists, are entitled to their freedom. But unfortunately, we are always scrutinised for our words and choices. I don’t care about the opinions of people who invest more time in me instead of their lives. I don’t consider someone bad just because he’s into alcohol or other intoxicants. Likewise, not indulging in such habits doesn’t make anyone a good person either.

Do you think your over-the-top antics off the screen have influenced filmmakers in typecasting you in eccentric roles?

When an actor is good at playing a particular kind of character, he’ll naturally be offered such similar roles. Maybe I am good at playing eccentric characters. I perform only according to the script and filmmaker’s demands. If you notice, the journalist in Live is not like the character in Kumari. They are different both in appearance and mannerisms. Unlike other industries, where artists have the privilege to take long breaks, I’m working non-stop by juggling between multiple sets on a single day. But still, I consciously try to make each role look distinct and memorable.

So, is hectic scheduling taking a toll on you?

Not really. I commit to films because of my passion. I perform two films in a day because I love what I do. I always try to bring something new; maybe they look all the same, but when you look deep enough, you will understand that they all are different in some way or the other.

How do you tackle criticisms? Recently, there was criticism about your pronunciation when dubbing.

Yes, I believe it was for Kumari. But in that film, I played an introvert, who hardly talks to people before marriage. How do you know how someone like that talks? He surely won’t talk or pronounce words like a Malayalam teacher. It’s also what I did — I did things considering what’s right for my character. Cinema does not require clarification, it needs characterisation. Many don’t get this. They think that if one dubs correctly, it can be heard well. But that’s not the way. We have to do justice to the character.

Do you study your characters in depth?

I usually conceive my performances based on my observations and a fair dose of imagination. Recently, for Neelavelicham, Aashiq (Abu) had asked me to watch Bhargavi Nilayam as part of preparations. I declined because I knew that if I watch that film, my performance would be limited to what was already portrayed by the other actor. I didn’t want that. I wanted my imagination to extend the limits of what was possible while staying true to the character. This is also why I feel that if an actor plays a character based on a book, it is best that he/she does not read the work. Our imagination is a very powerful tool.

What do you prefer - sticking to the character as on paper or using your imagination to flesh it out the way you deem fit?

How the director wants it. During the first take, we do it as we have perceived the script. But the director would make necessary changes. So we adapt. Some directors refrain from giving more details, preferring that we actors fine-tune the character. If you take Amal Neerad’s movies, the characters perform the way they do for the story. There are some who say my character in Bheeshma Parvam was a bi-sexual.

Isn’t that the case?

Not at all. The film charts a storyline similar to the Mahabharata. My character in Bheeshma is akin to the character Duryodhana from the epic.

But isn’t the story also alluding that your character is bi-sexual? For example, he is abusive towards his wife, likely out of frustration born out of sexual anger.

But aren’t straight people also abusive towards wives? Peter is abusive because he feels like everyone around him is undermining his authority, and he feels that it is only towards his wife that he can exert some control. Still, even that is eroding, as we see in the movie. He is just possessive about his wife.

Are you implying that this idea of Peter being bi-sexual is a result of people’s interpretations?

Yes. You see, the idea stems from a single scene - when Peter goes to watch the hero of a movie that he is producing doing a dance sequence. If you look at the rest of the movie, this idea is nearly non-existent.

How do you pick your roles?

I have no criteria as such. I choose from what I get. I can’t afford to be selective because I come from a very normal, non-filmy background. If I reject an offer, there will be ten others waiting to pick it up.

Are you satisfied with the roles being offered?

I find satisfaction in my results. We can’t choose our family or when we can die, right?. We’re not satisfied even with the major milestones in our lives. So, why bother about such things?

What about the offers from other languages?

I’ve been getting offers from Tamil and Telugu, but I really don’t want to go outside Kerala. I grew up watching Malayalam films, so this is where I want to flourish. Moreover, the film culture in these industries are very different. Most of them have other motives that go beyond passion, like political mileage. They also take a lot of time to finish a project, which often conflicts my commitments here. I still handpick some of them because of my desire to do a variety of characters.

Do you feel that other film industries are less passionate compared to the Malayalam industry?

I believe that real art exists only where there is struggle. Look at Dubai; they have everything, but they can’t produce even a single good film. There are several forces that drive art, and money is not one among them. But I also believe these films, irrespective of their quality, are crucial for the economy. Their success would mean it’s not just the producer who’s making profits. If a family decides to watch a film in a theatre, money is spent on tickets, transport, food and so on. On the other hand, if a film releases directly on OTT, the earnings are split only between its producer and some foreign-based streaming platform. That’s why we need such big commercial entertainers that can pull in crowds in large numbers.

What can you tell us about your upcoming Telugu film Devara with Jr NTR?

It’s a completely new experience for me, as the whole film is being shot on a studio floor where they have recreated everything from ocean to islands to ships. These advanced technologies are handy because it’s impossible to shoot in actual locations with a star like Jr NTR or Vijay. But as an actor, I always find it boring to shoot in such a setting. While filming Adithattu, we didn’t have the money for VFX, so we had to travel deep in the sea to shoot the entire film. The result was there to be seen on screen as it offered a fresh experience, unlike watching the CG-generated visuals. These VFX-heavy films usually don’t age well. Remember how everyone was in awe when Mudhalvan first came out? But today, even kids won’t be able to sit through it.

Your character in Beast invited a lot of trolls. Were you confident in the film while picking it?

I’m not sure if even the makers had confidence in the project. Is it logically possible for one man to take down a group of terrorists?. People trolled me for the scene where Vijay lifts me and walks in slow motion. But can someone walk casually like that while carrying such a huge weight? People were mocking me because of herd mentality. If ten people say something, the 11th person automatically agrees. It’s like saying the Earth is spherical in shape.

So, you don’t believe the Earth is spherical?

Absolutely not. How do we know if the Earth is spherical or flat? Has anyone seen it? It’s impossible to go that far and take photographs. Similarly, Moon landing is another tale that we’ve been made to believe all these years. It’s all a lie.

(TNIE team: Vignesh Madhu, Krishna PS, Mahima Anna Jacob, Manju Soman, Aishwarya Prabhakaran)