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R Parthiban: I chose to release Teenz along with Indian 2 for better visibility
Parthiban's latest directorial, Teenz, has been in the limelight for an important reason: the film is released alongside the most-awaited Indian 2, the Shankar directorial starring Kamal Haasan. Such risks, however, are not new to Parthiban, who previously released Kathai Thiraikathai Vasanam Iyakkam along with Suriya's Anjaan and Koditta Idangalai Nirappuga along with Vijay's Bairavaa. "I decided to release Teenz along with Indian 2, as it would get better visibility," he says, further adding that it is the audience that determines whether a film is big or small. "A big production value alone doesn’t determine the scale of the film. I didn’t plan on competing against Indian 2 in the theatres. I wanted to make the best use of the holiday season, capitalising on the family audience. However, due to the delay of the Vfx company, I wasn’t able to release it earlier," the director says.
In this conversation, the multi-hyphenated Parthiban speaks about his latest directorial Teenz, working with his daughter Keerthana, his definition of success, and more.
You are associated with novelty and uniqueness. What sparked your interest in exploring unconventional narratives and filmmaking techniques in your career?
I started gravitating towards novelty for survival. I continue to experiment and explore even after all these years for the same reason. I need to bring returns to the producers who have trusted me and invested in my projects. Another reason for choosing unique stories is the generational shift in cinema. It is not easy to survive for decades in the film industry. But even today, I have attempted to pull the younger audience to my side by doing a film like Teenz. That is only possible if I am constantly evolving with my films and filmmaking.
Considering the box office performance of Iravin Nizhal, how did you approach Teenz to ensure its financial viability for the producers?
The four producers came into the film only out of their trust in my talent. While making Iravin Nizhal, I clearly told them that it would be an A-rated film, and they had no worries about it. Nobody would believe that it made a business of Rs 14 crores. It was not a commercial success because it had an expenditure of Rs 21 crores. For Teenz, I decided that I needed to keep their investment to a minimum, so I only requested a minimal budget. However, due to a lot of complications, like the Vfx delay, the expenditure increased. But instead of asking them for more money, I took care of the expenses. Even now, if this film makes a profit, the first share will reach them. The success of this film is extremely important for my continuity in this industry.
To effectively portray teenagers in Teenz, how did you stay informed about their current experiences, interests, and language?
No matter how old I become, I don’t want to quit this race. For that, I need to keep myself up to date with the current trends. I am active on social media for this reason. I am quite spontaneous with my screenplay, as I came up with most of the dialogue on the spot. Teenz is one of my first films with minimal dialogue. I have kept lines only when and where absolutely necessary. I advised the children to behave, instead of act, in the film. I told them to really visualise a friend going missing and what their genuine reaction would be to that.
Given Teenz's focus on adolescents, how important was the role of your daughter Keerthana as the creative producer of the film?
Keerthana literally stands true to the lines, 'Vaazhvu Thudangum Idam Nee Dhane,' in my life. She’s more old school while I am new school. She comes from Mani Ratnam’s school of filmmaking, and so, she is meticulous and systemic in her work. On the other hand, I am wild with my filmmaking. Both of us aspire to produce the same thing, but the way I do it makes her feel like I take up a lot of pressure upon myself. While I couldn’t carry out a few of her suggestions in Teenz, I have promised to produce her directorial and execute anything and everything she asks for.
Despite 35 years of experience, Teenz faced challenges securing screens against a big-budget film. Do you believe a more commercial approach might have saved you such problems?
I would have gone missing if I followed the conventional route of commercial cinema. Maybe, I might have made a lot of money and settled down. But I definitely would have gotten bored of the mundanity. I am still striving to make good movies maybe because I am yet to reach my pinnacle. I think at least 10 people this week will choose Teenz over Indian 2, hoping for it to be something different.
While awards are certainly an honour, how would you define success for yourself beyond such recognition?
While making Teenz, I wasn’t hopeful or expecting an award. But while making Otha Seruppu or Iravin Nizhal, I had the expectations that the films would get their deserved recognition. I did not expect Pudhiya Pathai to win a National Award, but I expected Housefull to get one. I thought I would get an award for my performance as a supporting actor in Aayirathil Oruvan, but it somehow didn’t happen. I wonder what other performance would be worthy of that award, if not for Aayirathil Oruvan. These awards and recognitions should reach the deserving people when necessary.
I value satisfaction and contentment over awards and recognitions. I am proud of myself as a filmmaker because I never copy from other films. And therefore, whether a film is good or bad, the film is completely my baby. That feeling of inner satisfaction is my definition of success.