Director’s cut

Fimmaker Vasanth Sai talks about what films mean to him, his work so far and his forthcoming venture Sivaranjaniyum Innum Sila Pengalum

August 18, 2016 08:34 pm | Updated 08:34 pm IST - MADURAI:

S.P. Balasubrahmanyam and Radhika in Keladi Kanmani

S.P. Balasubrahmanyam and Radhika in Keladi Kanmani

Director Vasanth Sai is excited about his upcoming venture Sivaranjaniyum Innum Sila Pengalum , his comeback film, starring Parvathy and Karunakaran, after a break of three years.

“Almost 70 per cent is done. The movie is a kind of self-expression and I have tried to put forth what I have in mind. I hope it will turn out to be my favourite film. I have tried to reduce the compromises and be fully satisfied with the process,” says Vasanth.

Though he has directed a dozen films, the director is still remembered for his first movie Keladi Kanmani , a classic. “I don’t make formulaic movies or stick to a particular genre. I want to tread all paths,” says Vasanth. “For instance, Keladi Kanmani was a stupendous success and I could have easily continued to do similar stories. But I didn’t. After a couple of films, I challenged myself to do a comedy and that’s how Poovellam Kettupar happened. I wanted to do a bike film and made Nerukku Ner , a youth-oriented city movie. It still continues to be a unique subject in which I portrayed the youth of the nineties. While, Rhythm and Satham Podathe were proper thrillers, Aasai was a family thriller. Until a murder happens in the plot, it will look like any other family drama. I wanted the viewers to take a ride through the undulating plot.”

Known for his unique packaging of films, Vasanth is hailed as someone who traverses the middle path between realism and commercial movies. “Anything to do with art and filmmaking interests me. I don’t define or confine myself. I have done documentaries and over 100-plus ad films for various brands. I did a stage show Netru Indru Naalai with Mani Ratnam for Vijay TV and thoroughly enjoyed it,” he says. “Though I know stage shows are not my profession and that I am not going to do them regularly, I like to take small detours. Life opens new doors everyday and I don’t want to lose a single opportunity. And with each experience, I am reinventing myself.”

Ask Vasanth about his personal style of movie-making and he says, “I have made 12 films using 11 cameramen and nine music directors. Yet, if you watch my films keenly, you will be able to see a Vasanth frame/shot in all of them. I think, to have a signature style is the most basic qualification to be a filmmaker. In my movies, I try to etch a subtle signature that doesn’t overpower the script or screenplay. Signature is something that’s achieved over the years.”

Vasanth places filmmakers Balu Mahendra, Mani Ratnam, Mahendran, Sridhar and Bharathiraja after his guru K. Balachander. “I have been lucky to have known them. They have liked my films and I have grown up watching their movies,” he says.

“Mani Ratnam produced two of my films and calls me a friend but he is a mentor-friend to me. He was highly encouraging and said that Rhythm was his favourite out of all my creations.”

“Sridhar’s Sumaithangi made a huge impact on me. I cried watching it and emerged from the cinema hall as a different person. I think a film should teach you something and bring about a change.”

He adds, “Later when I watched Sridhar’s Kathalikka Neramillai that guarantees three hours of non-stop laughter, I understood what filmmaking is all about. A director par excellence is someone who can handle all subjects and infuse all kinds of emotions in the audience. After all, it was George Miller who made both Mad Max and Lorenzo’s Oil .”

There is more to Vasanth than just his films. “At some level, I am also an activist. To take part in social activities and voice my concerns is my way of giving back to society,” he says.

“For instance, I did a candle-light vigil recently in Chennai where we lit a million candles to the injustices faced by women. People call me a feminist. I don’t believe in branding but I would continue to stand for what I believe in.”

Vasanth was in Madurai for the Sangam-4 event and shares a unique bond with Madurai and Tamil. “As a kid growing up in Devakottai, Madurai meant ‘the big city’ and I vividly remember my bus trips here,” he says.

“Likewise, Tamil has always been close to my heart. I am crazy about Bharathiar. Though I am not well versed with the Sangam literature, the stories and characters have inspired me.

The impact the literature has on me comes out effortlessly in my movies.”

What next? “I have another script Thanneer in the pipeline.”

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