Direction Dreams: I want to collaborate with Ilaiyaraaja for a horror film

In conversation with Sivaramakrishna S

Films worked on: Maya, Aval, Pallu Padama Paathuka, Village

Directors worked with: Ashwin Saravanan, Milind Rau, Vijay Varadharaj

Main responsibilities: Script supervisor, action continuity, art department

When did you realise cinema was your calling?

The initial pull happened right from my childhood. I used to love watching those English films dubbed in Tamil that used to be telecast on weekends. I had an interest in drawing too, and I joined VisCom right after school. The inspiration to become a filmmaker became more intense. It was also the time things were going fully digital. It was the era of shows like Naalaiya Iyakkunar, and newer talents came to the fore. I just knew I had to do cinema.

What have you learned from your directors?

There were multiple lessons. Ashwin didn’t work with any filmmaker, and it was insightful to see his process. From taking a pilot film to pitching it with conviction, and mounting the project, and releasing it, the process was an exposure to films and filmmaking. Although I just did the edit log, and clap, I could witness the conviction firsthand.

Milind sir is from Mani (Ratnam) sir’s school, and he had a way of simplifying processes. He didn’t just have a strong hold on the creative side of things, but was well-versed with the production side too. I learnt the ropes of production while working with him.

With Vijay Varadharaj, it was a one-stop shop to understand guerilla filmmaking, and working with immense budget constraints. Changes were made on the go to ensure the shooting happened as scheduled. That understanding was very important.

What’s the oddest or most memorable thing you have seen or done as an AD?

Whenever we shot the scenes featuring the ghost in Maya, it would rain. Of course, it was just a coincidence, but it was one odd coincidence. Another memorable incident was from the sets of Pallu Padaama Paathuko.  

We planned to shoot in an abandoned factory, and everything was in place. When we finally reached the place a week later, the building was razed down. However, the production side asked us to shoot that day for sure. We were just running helter-skelter to finish that scene, and just reworked it to ensure we worked it into an interior-set scene, and filmed that day.

What’s one area of filmmaking you had a tough time with, but are better at now?

Shooting in front of 100-200 people was a challenge, for sure. It was very daunting to be put in front of such a crowd, and find our own place in it. It also saw my physical endurance being tested. Shooting for a film happens on an unimaginable time schedule. But since my first movie till now, I have seen myself becoming someone who can undergo that stress and manage it well.

 
What's a change you wish to see in Tamil cinema?

We need more writers. We are technically strong, and we have very fine performers. Even the equipment that we have are of global standards. We just need the right content to use it well. Somewhere, we lost the connect between directors and writers, and I’m glad they have found each other again, and recent successes like Por Thozhil are a testament to the same,

Who would be the dream cast and/or crew for your debut project?
 
I’m not sure about the cast or crew, but I definitely want to collaborate with Ilaiyaraaja for a horror film. It is not something he has done, and I would love to work with him on one such project. And considering horror is my favourite genre, what better?

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