[ad_1]
EYE OF THE AUTHOR (Top) Filmmaker Thiagarajan Kumararaja.
EIGHT years after its brilliant debut with the critically acclaimed gangster drama, Aaranya Kaandam (2011), Thiagarajan Kumarara The second film, Super Deluxe, has just confirmed its position among the most exciting filmmakers in Indian cinema. Super Deluxe, which aired on March 29 all over India to elicit rave reviews, is a very rich Tamil anthology starring Vijay Sethupathi, Fahadh Faasil, Samantha Akkineni and Ramya Krishnan. In a phone interview, the Chennai-based screenwriter-director, who calls himself "lazy", talks about old creative influences, his unusual approach to writing, and explains why his films are a tribute to pop culture. Extracts:
After the critical success of Aaranya Kaandam, why did you take eight years to make your second film?
I was writing a great project that I could not mount. It was a very difficult film to write and it kept me busy for a while. I started writing Super Deluxe by the end of 2015, when this project did not start.
For me, both films talk about when a person jumps from a cliff, losing control of gravity. Super Deluxe has many moments like this. I had this idea for a long time, but after Aaranya Kaandam, I did not want to make another movie with multiple scenarios. But then, I thought that for a few years, it was acceptable to make another movie with several tracks.
Super Deluxe is also a tribute to the cinema, with references to Star Wars and the use of songs by Bappi. Lahiri and Ilaiyaraaja.
I do not know if it was conscious, but it's my way of writing a movie. Even Aaranya Kaandam had many references to pop culture. This insinuates naturally in my writing.
Putting the title track of Disco Dancer (1982) in the background seems unusual.
I watched Disco Dancer when I was very young. I've always loved his songs. When I write a story or think of a scene, I always play a song in the background. Sometimes, when I do not add song at the writing stage, I do it at the same time as editing the movie.
Why did you choose Vijay Sethupathi for transwoman Shilpa?
I had approached Vijay to play in another project, a French film that I wanted to produce. Even though he liked this scenario, he wanted to know what I wanted to direct. I told him about Shilpa and told him the story (Super Deluxe). After two hours, he agreed to play this role
Initially, it was difficult for us to decipher his character on the screen. It had more to do with my job. I was not very convinced of the way I occupied myself. We took a break from the filming program and we approached it again.
Is it true that you wrote the highlight of Aaranya Kaandam first? Did you follow a similar technique here?
Aaranya Kaandam was entirely conceived as a climax. Generally, movies have first, second and third acts. But I only wrote it in a third act. Ditto for Super Deluxe, where I start the stories with this decisive moment. I do not like to dwell on the development of the scenes. Take, for example, the story of Vaembu (Akkineni) and Mugil (Faasil). A conventional story would tell of how they had been forced to marry, the failure of this marriage and the fact that she had an old boyfriend whom she calls. But I tell the story from the moment she called.
Is it to reinforce the drama?
For me, the development of the conclusion is exciting. I put the audience directly at that moment, when he learns a little more about the characters but is more attracted by the drama. As the drama unfolds, you also understand the characters. I just go through the formalities and introduction.
You were asked to make 52 cuts to Aaranya Kaandam. This film has also obtained an "A" certificate.
My two films are intended for a mature audience. Personally, I think that clbadifying a film is acceptable. They can certify a movie saying that it is not suitable for children and young adults. However, they should not require reduction, especially at a time when viewers can access whatever they want.
Your movies have strong female characters such as Aaranya Kaandam's Subbu and almost all Super Deluxe female characters.
I love strong women. Strong female characters have always existed in the films of directors such as K Balachander and Mani Ratnam. Of course, in mainstream cinema, the narrative revolves around the "hero", while the female star is there for singing, dancing and two other scenes. The industry understands the language of money. If women – focused films yield money, more people would win.
What attracted you to the movies when you were a kid?
If you live in Chennai, it's easy to be influenced by the cinema. Growing up in the 80s, the two windows of the entertainment world were television and movies. I was one of those people who was influenced by these psychics. I was listening to shows like Aap Ki Farmaish on the radio or watching Chitrahaar and Chitramala. On Saturday, we watched Hindi films on Doordarshan and Tamil films on Sundays
How would you summarize contemporary Tamil cinema?
There are good movies, but also average and bad movies. Some very interesting films are in progress, as well as some money spinners. Both are important to the industry. Today, viewers are willing to watch a wide variety of movies and, thanks to subtitles, they can watch movies in other languages.
Are you working on other projects now?
No, I am not. . Usually, when I'm not working, I spend most of my time with my friends, biking, listening to music, and occasionally watching movies. Like any other idler, I bask. I only observe life by looking at it.
This article was printed with the title: "I begin my stories at the climax"
.
[ad_2]
Source link
