No art or commercial films; just good or bad!: Priyadarshan

Thirty-six years, 90 films, and I am still learning. With every film’s release, I feel I should have done better,” says maverick filmmaker Priyadarshan, who returns to Tamil with Sila Samayangalil, a film on AIDS. Here, he talks about why he follows renowned filmmaker Sathyajit Ray, why Aamir Khan could not do SS, and shares several other interesting tidbits with us.

On Sila Samayangalil:
It is the story of eight characters,who arrive at a pathology lab at 9 am to test for AIDS — and it ends at 5 pm, when the results arrive. SS is a thriller and perhaps for the first 10 minutes, the film is slow. It picks up speed soon after. If we make a commercial film, we tend to make the pace fast. With a realistic movie, it has to open slowly. Even a fast-paced commercial film can get boring. So, it is not commercial or art that matters, it’s how you treat your screenplay and write your film.

I have made it in an entertaining manner, without being preachy — and highlighted several societal problems through a thriller interlaced with humour.
I follow Sathyajit Ray’s principle.. He tells stories in the right way. There are no art or commercial films; only good or bad!

Reasons for making the film in Tamil:
Unlike in Kerala, very few people here are making such flicks. This is the best place to try out something new. I have also noticed varied cultures, customs and traditions in TN. If you go to Kerala, from Kanyakumari to Kasarkode there’s no difference in culture.

I was fascinated with Sasikumar’s Kidaari. Every character was real. It was as good as Godfather! Tamil cinema is coming of age.

On repeating Prakash Raj:
I wanted to make my trilogy in Tamil only. When I made Kanchivaram, I decided early on to have Prakash in all the three films. My next, about female infanticide, will have him on board as well.  Our comfort levels are good. It is out of passion to make a good film that we have come together.

On Aamir, his first choice:
Originally, I narrated the script to Aamir Khan six years ago. He called twice, but I was busy and  not ready with the bound book. Then there was a two-year gap until I finished the script of SS. By that time, Aamir had other commitments.
I called my protégé director Vijay for penning Tamil dialogues — when he said he would produce it —  that’s how the project took shape.

Shifting gears from commercial to this kind of films:
I learnt cinema by watching films right from childhood. I loved to watch anything on the screen, be it a documentary, a cartoon, MGR or Adoor’s films! I don’t make a film as a director, but as an audience. It took me years to learn cinema.  In Sila Samayangalil, I took several shots inside one room. Not even a single shot has been repeated. That was the challenge that I have learnt in 36 years!

Comedy as serious business:
To make people laugh is difficult. We will remember the comedian when we come out of the halls, because he makes us laugh. I think I am doing a social service by making a comedy film. (laughs)

Ilaiyaraaja’s advice to him:
It was Raja sir who said music is not required for this film and that it would spoil the mood. Towards the climax, you will see Raja sir’s magical touch. There are no songs as well.

On most of his Bollywood films being remakes:
Yes, I did enter Bollywood for two big reasons. One is money, the other  is glamour. There was a dearth of comic films in B’town, so I tried and it worked big time for me. I think I am second to David Dhawan in the number of comedy films I’ve done in Bollywood history. (smiles)

I am now making my blockbuster Malayalam film Oppam, in Hindi, with Ajay Devgn. Remakes are difficult. If you look at the current trend, 90 per cent of remakes are flops. My film Manichitrathazh in Malayalam was remade as Chandramukhi, where they changed the complete atmosphere and culture to suit the local flavour. Many south directors fail in Hindi because the film ends up looking like a south film. You have to change the screenplay. I failed in three movies when I tried to remake them in Hindi. Later, I started hiring a separate screenplay writer.

The Bollywood actor he yearns to work with:
Nobody. In Bollywood, they believe in the fact — muscle building is acting.  Our heroes in south are much better.

The ace filmmaker signs off by saying he is proud of his three discoveries — Jyothika, Trisha and Keerthy Suresh!