Fahadh Faasil Interview With Baradwaj Rangan | Conversations | Aavesham

GT holidays South India's number one travel brand gooy a vernacular edch brand Skilling everyone [Music] everywhere hello fad welcome to Galata Plus thank you for limping your way here your leg is not okay yeah that's slipped and fell and man and that kind of a thing but you don't like giving interviews it's not it's not that I don't like it's just that I don't know what to talk it's because I don't talk I me make films you know my uh that's the easiest uh way for me to communicate with the a you're at home with your wife huh you talk no we don't have to talk cinema right interview I only have to talk about Cinema and there's nothing much I talk about Cinema I I'd like to do Cinema than talk about it or under there people that your friends like Amal or sham or somebody like that where you say oh I saw this great movie this is what this thing the thing I never talk about Cinema to these people I I I talk my push and run a studio we never talk Cinema we never talk Cinema like I I I go to him he tells me about something he read somewhere he tells me about someone he met somewhere or he tell me about a story that uh you know one of the director friends told someone so it's never about do you see that film can you do something like that not single time I've had a conversation like that and to be honest delish pan doesn't watch any films other than his films so uh so for me okay with Amal we we do talk a lot about Cinema because he he's an encyclopedia you go and ask him CH which was that film you know that that came out in the ' 80s and you know he he'll easily give you that so so my U prep or my U you know my interactions of the Clos Circle are never about Cinema it's more about life and it's it's about what I see out of my window you know so you're saying that it would be easier to do this interview if I were to ask you about it how is she at home yeah how all that's good but if you ask me about aim I'll say it's easier for me to show you the film than talk about it right right right and we are going to talk about a but Wii can I can talk how much you want yeah but this is unfortunately not that kind of interview so yeah so but I hope she's good you know so but uh Rich producer yeah Rich producer I'm saying yeah yeah you know I was just looking at your filmography and I realized that your last few films you haven't had like a heroine oh yeah yeah I'm like is he deliberately choosing films where my director my director so someone asked jitu how come there's no heroin in a yeah and he immediately said there there was no heroin in Roman M that's when he realized oh my God I don't have any you know yeah because even Naz in trans I mean there are glimpses of it but there there's actually no like you know the the man woman thing that never happens for you in your movies I'm I'm going to look at it no I'm not ask you to look at it like it uh so I I've done only what excited me there was no plan or you know there was there was no intention to such kind of films right I just did what excited me right uh but yeah I want to explore more with the man yeah because even even at P which is the fil that I really liked it's more about cheating and this and that it was not like aiss like a romantic uh and also um you know every time I think about doing a love story um The Taste is also a factor right so I I want to do something which is today's monam or you know something like that and it's not easy I mean you know the world's changed so much it's not easy to you know give your take on a marriage that eastly now right so I want to discuss something but it's it's too early to say yeah because I'm thinking of at one point there was something like Anum all that but like for the longest time you know you've been I don't to do a Revolutionary Road I I I dream to do something like that a Revolutionary Road yeah but yeah no one calls me for that yeah so with aish you're there the The Who dreamt up this reintroducing fat fil thing I think everyone I think primarily the discussion started from um jitu only I think jitu and nazriya started talking about it and so we never thought of having that as a uh what do you call on the titles or anything but and eventually everyone who started seeing the film somehow were excited about seeing a new me or you know uh so then eventually everyone decid okay fine let's just reintroduce him and I was not giving any promotions or anything so they wanted something to push the film yeah and yeah so but why reintroduce is it because a Fahad fasil zone is usually something else and you're pushing yourself into a new Zone was that the thought behind the whole thing that's one two I've never approached a film like like this um I've never been worried if audience would like a moment or is that is is the moment Massi enough for me it was all about okay let's stay within the cinema and decide you know let's just stay within the narrative and take a call but a you know I've let that uh doors open and explore you know like you know let's just go one one Tad uh you know um so with aam the attempt was always that to just go a little above my usual uh you know uh what do you call boundaries or whatever yeah yeah and if you look at it aim is actually uh written for the audience in the sense that the film is actually moving with the audience than with the character or uh you know uh any of the other factors so I've not approached anything like that earlier um for me it was very I wanted the screenplay to move organically and so with a no I said no no no let's let's let's try try something else or I mean zuu came to me with something which is which is very commercial in you know so maybe I've not approached anything like that before that's the main reason why aish was so new to me you know the way I saw it you're still within character in the movie it's not like you're uh within the the character of ranga is what yeah you're pretty true to that it's not like you're just doing masks for the heck of it you know it's like a yeah but it's it's um isn't it very hard to stit this thing you know I mean you have to see every uh detailing that you've always given for your characters at the same time he's loud uh at the same time uh there's love in him there is concern U there is another side so there's a sadness in him there's a sadness in him yeah so to stitch all that to a character like this a character who's so loud I think that was a that was a little challenging to bring in all these elements to someone like that and I'm not the first person to do that mamuka has done it so Roy with Raj manik you know the attempt was to remind people of a character played by another hero 20 years back or you know I I wanted to bring back the uh excitement of watching an old film yeah in in in screen yeah and that was what jiu's absolutely so um so jitu is a very interesting person to interact with like you know uh I think he's a he's the director I took the longest to crack I think uh we went on to shoot and so we started with the the the bar episodes where I meet the kids and all that uh we're shooting we're shooting he's moving on like third fourth day shoot I asked him is it falling place he's like yeah it'll fall it'll fall you know it's it's not so it took a long time for us to crack his energy I mean ranga's energy or the way he spoke to the kids so one example he gave me was he's a he's a center of a circle and his distance to everyone is the same he's like I mean the the radius is the same to everyone so whoever he wants to get closer he'll call them inside yeah so that was a very interesting description that I got he's the center of the circle and every everyone is on the you know the diameter I mean the and he would call people he want so he would call Aman he would call the boys he would call njapa and everyone is pushed back to the other uh you know so that was a very interesting um you know uh uh this thing he gave me so I mean we worked around all that and I didn't do it alone ranga wouldn't be ranga if Samir was not there sushan sham was not there Ashwini was not there so we all brought him together I guess what is the difference between playing a larger than life character like ranga versus a larger than life character in a Larger than Life movie like pushpa pushpa itself is larger so the setting is larger than life right aam is set in Bangalore you you you see Bangalore like you you land in Bangalore you know where where a was happening pushpa you know it's one it's said in the '90s and you know I mean the geography is said the characters are set so uh everything is set for pushpa aim we've said the film in a in the right geography or you know so I think the approach is different and uh uh pushpa can be set anywhere right right cannot be said anywhere right so you're saying that there you're playing a larger than life character in a movie that's Larger than Life absolutely abolutely and here you're playing a large life character in a very normal uh regular surrounding regular surrounding you may say but that regular surrounding aam regular uh surrounding is a little you know uh sort of above for the normal malum films but uh but the approach is what is different for push and right so when it comes to again reintroducing you and from your see there was a phase when uh see according to me there are two phases of malum Cinema in recent times one is the time the the pandemic happened uh started and suddenly people started watching like a lot of films typically like like y see you soon kumbalangi nights all these films kind of got broke out of the people that typically watch Mal cema and found a large like a bigger audience outside and suddenly people were talking about them and the second big thing is this year when suddenly like malam cinas acquired a life of its own because in a sense if you look at it even last year we had uh like like mamuti doing kadal and and canu uh Squad so all like commercial uh uh you know artistic things uh not that the two are uh separate anyway but you had RDX which was like a huge hit among the youth and which I would say was an version of Prolo whatever it is so you did have films last year but somehow this year the conversation seems to bitten about how everything is broken out what's your take on that I'm just analyzing it because having produced pru and aishan uh there is a there is a huge surprise factor with the trade I mean you know everyone has been discussing about it there's a huge growth of 40 to 50% theatrical revenue and everything one primary I believe all the films very good whether it's m boys or pru or brah or surprising because you think a movie that's serious doing these kind of numbers is amazing so so one is that I think uh the films were very much inviting to the audience and all the films were so different from each other and that's a plus I think you know and audience were ready to explore that in theaters secondly uh like I said the the the trade has grown but malum Cinema even now doesn't have a solid backup of a internet platform or we need to prove in theaters for any of these things to come in so it's not like rest of India where the film almost 80% of the films are sold even before the shootter is started our model is not that we need to finish the film release the film prove the film and then so I think that way we are more self-sufficient now I think you know I mean we are very we understand the important of making a film that's different that will make noise so I think everyone is on that mode now you know let's let's let's make films that you know that sort of reach out and then rest of the whether it's business or the uh the exposure the film get you know let let that let that be secondary but let's let's try and make a noise here right so in this new age let me let me say or New Era whatever it is is it going to be difficult to make your or the which which kind of where this wonderful mix of I would say commercial but mainstream and uh like I I was having a chat with my friend yesterday and I said do anything in the next 5 years in Mal do anything do a film without dialogues do a film without music do a film without do a black and white film again so I think this is a time to explore everything right like you know and don't I mean I I don't think there's a point where we need to ask should we should we not just do it people are ready people are ready the industry is ready everything is I think the platform is set we just need to go and explore it right and let's not change the 100 CR thing I mean let's just just do some meaningful films something interesting absolutely absolutely but is that what you see because you're you're you're not just a an actor of for you're a hero as there's a difference between the two because an actor is somebody who comes and does a good job and goes and a hero is somebody who also has a box office stature so you have to kind of do you look at like whether when you sign a film do you also look at is this going to take me a little higher as a hero I look at recovery uh I don't I don't I don't I don't see it as a I don't see a film as my personal growth or this skin get me to the next level no I I I I would rather produce a film and so I get these high producers films or you know so for me the high is not about me being good in a film uh the high is about the film itself being you know insanely different in you know the wow factor or you know so whether it's kuming nights or any of the films that I've eventually acted as a as a producer it's because we couldn't find any other actors kumang knights was written another actor and I mean things never fell in place and Sham just turned around us just come and do it man you know that's how I did it I want to be known for the films I make than the characters I play right what I'm saying is is there also the the pre you don't put on yourself the pressure of not when I say that like if a film becomes a like like a shs become a big hit so that means that you have reinforced the fact that yes audiences want to see me like I'm a I'm a star isn't that important for a for a so that you get your kind of no I'll reintroduce myself again after a couple of years I want to do this no I don't want to do an aish again I'm going to do like I'm going to shoot with altaf Salim totally different film you know a boy meets girl kind of a oh yeah again yeah so uh so yeah so aim will never decide what I do next yeah yeah right you know one of my favorite films of your last maybe five years is trans because I like these films that take a big swing you know like like I have a crazy premise I'm just going to go all out with it and and you're there you're fully committed do you think today had that film been made uh maybe the audience should have come on board a little more I have my reservations on dealing with religion in Kerala I don't think uh that works no I don't think I don't think people would want to hear the harsh reality if I may say they want to be entertained and what trans lacked after a point was that entertainment Factor there was there was a lot of awareness and things like that but the entertainment Factor was taken away from the fil at some point and that's where I think we failed having said that I mean a corrected second half trans would still make a lot of difference but I wouldn't touch religion for a while in carer right right right now in a recent interview you said I'm a better producer than I am an actor what is that I have so many limitations as an actor so many limitations I have to keep asking my dop what's the lens uh how how close are we how far are we uh so there so many things I other actors do that too yeah but I I I think uh an actor shouldn't do that I've never seen m m doing that you know uh so even my father says that you know the moment you learn your lines and in front of the camera you shouldn't be worrying about who's capturing you what's been captured or how you've been captured you know uh so I'm I'm very conscious that way I I I asked my costume is it fitting well you know so I I keep discovering that there's so many limitations I'm I'm I'm depending on so many people to get this right as a producer it's not like that I I give people immense freedom to explore and and I like that and you know when person like delish poan or sham is given absolute freedom to explore it's totally different than staying in and controlling in doing a film you know so uh as a producer I didn't have any limitations I'm I'm willing to explore Any Which Way right but I have to be very cautious about the kind of films the actor when you're saying that are you saying you're not a very comfortable actor no I I am an actor because I didn't find any other job I'm still trying you keep saying that but that's that's such a that's such a ridiculously immodest thing to say considering what you've done I didn't do it alone right so it's so many other people in you know films are a collaborative medium fad no no directors can say I did it alone no I I I I I keep telling everyone you know so can you ask Anar Rashid to uh do a of trans with another actor I'm sure he'll produce the same intensity because I know Anar how I went to Anar and how Anar got things out of me I'm very evid like I clearly I'm very aware of that so I think he does that magic with any actor so I I I don't know it doesn't go to my head that I'm not saying it should go to your head but I'm just saying that you must be aware that you're capable of executing a certain kind of let let me talk about that like for example that that dum shed SC in aam right now it starts off as as fun but then there's a very crucial aspect of yours that where what was very striking for me was the intensity that you maintain both when because you are getting exasperated something new wants to burst out but you want to keep the fun going but that funds afterward it becomes frustration you're almost like looking like you want to kill somebody but then the fund returns that's a very bizarre and wonderful seed but like tell me how are you going to say again that it was all jitu or see the intention of the scene was given to you right I mean even during the first narration the scene was there so the the purpose of the scene was clearly told to you so the only thing I asked was to what extent can I pull it like how far can I take it what J told me is just just take it to the max just take it till one of the actors sort of you know break down or laugh out or you know so that I mean when he said that we all knew that okay fine we we had to play this in a way that there's there's so much more drama than what we actually what what he's actually written so when you have a you know description like that it's easy to so what if jitu had WR uh this has to be very controlled ranga has to be sitting ranga shouldn't be moving ranga has to sit in one chair and do this then this whole thing would be so difficult so like again the the stage was set he said you know just just do it just do it so it's see it's just not enough that I understand the scene everyone in that frame needs to understand the definitely but what goes into your understanding of the scene you obviously read read what the script is and then you have your talk with your director and then what happens to you is what do see I wanted the boys to get scared okay but at the same time at the the end of the thing I wanted the audience to laugh right I wanted these two meeting points in that scene this is I mean my connect to the audience was these two points right and I think we try to crack that I think right and that's that's something that you say that this is what I want yeah I mean uh I played around so you know and they'll pick up you know so at some point will say oh this is the one yeah yeah let's do that right I I don't I don't go to sets with a definite pattern I keep telling them you know let's try this let's try this so in fact I'm shooting pushpa uh sua is like so what do you want to do I said I don't know yeah I don't know so you do three four options and we'll decide so I I find it uh so when you go to buy something at a shop whatever is that you want to buy you don't buy the first thing you see right you look at options and so I mean it's I think that's very important for a scene as well you see multiple uh variations and you know then you lock on a meter right for me it very constantly happens and I I'm a person who goes back to re-shoot the first day work and all that so it's primarily because there's a there's a meter I try to crack right and that's very important that me meter needs to Ally with the other actors as well right and it's just not easy to just you know get there right so even with the scene what I'm trying to you you would have seen this variation of ranga another scene also yeah yeah it doesn't not not coming up absolutely absolutely yeah so I mean yeah yeah so the reason you say that that sometimes you go back and re-shoot things that you've done on the first day shoot maybe three 3 weeks later is that because after that first day shoot and maybe during let's say the second week or something that's when you crack the meter and so you want that earlier scene also to be redone redone yes yes um I have evidently uh seen that uh I understand the character much better after the you know after 3 weeks of shoot then the after enacting or after playing around and yeah yeah yeah yeah and I I always get this Clarity after playing around with other actors uh Nan prashan I went to sat and said I want to re-shoot one you know one of the scenes we did earlier and he said why no it's only when I did a scene with SH and I understood you know this has to be the meter so that always happens that always happens and uh a in all my films I've reot yeah so right by now and surprisingly I I um I I did an audition uh for a foreign uh production house uh I'm not using any name so the first time ever I did an audition and they gave me a scene and I don't know I mean very sweet people all of them very sweet and you know so I I got a scene and I don't know anything before the scene or after the scene I know a big actor is doing that scene and the scene is with me or I have to do that scene with him and that's when I realized that even my closest friend cannot crack me with this a scene like he comes and gives me a scene I will not be able to crack anything I have to evolve like you know uh I'm not saying it's good or bad but this is my method I'm I'm happy with this method fair enough because see you indirectly gave I was going to ask you what your general process and approaching us thing is and basically you're saying that I have to live with that character for a while in front of the camera and once I live with that character for a while I slowly start finding the little things that that for example that grin and see more than me finding it I let others see it it's easier for me to judge you know right so because I'm not a person who goes with a script I I goes with I I go with capturing you know like I believe the the most beautiful thing about film making is capturing you know it's a slightly hard process but it's fun it's really yeah but you're not one of those people who romanticize his acting and all that no it's a job absolutely yeah not now you haven't worked with uh mamuti Mo so I have to ask you this with veterans from another language you worked with Kamas and you worked with rajik I work with M you worked with MTI Emmanuel oh long back yeah yeah yeah so when you you watch kamasan act mamuti uh Mohan act rajnikant act now as an actor what is it do you think they bring to their scenes are you able to kind of look at them as not just a fan but as an actor when I see each of them perform individually it's not that I don't I don't get that process or the method how they but I understand how they are so sincere in front of camera like they're very honest in front of camera and that's because they purely believe everyone is equal in front of camera whether it's Raj s or Kamal s or mamuka I mean they come and they they they explore the scene they ask the other actors so there is a there is a sort of discussion which actually makes you feel okay we all are the same here that and that eases out a lot of things and I've noticed this with all three of them I mean I'm sure LSA also has that or I mean the other stars in I mean stars in telu or Bombay will also have that but my situation was a little different when I met them uh so when I first uh worked with mamuka I think uh I had already done diamond necklace and an him so uh he was he he we were at a point where he wanted to discuss and he wanted to know you know my process and all that by the time I met Kamal sir I I done see you soon and you know uh Raj sir I keep asking sir have you seen any of my films no no no I don't want to see your films I know I know he not seen any of her film he's seen he's seen Vikram and M and all that okay okay yeah but not the films that made you yeah no but he's I I think he's heard about me I guess but regardless uh for me it's just absolutely brilliant just just seeing them learn a line and deliver it so when they do that for me it's you know it's the history of Cinema that runs through me you know when Raj s you know we stands there and dust this and all that it's for me it's it's so unreal for me you know so I am tripping on all that then you know what I'm discovering or learning uh for me it's the the witnessing all this itself is a right but you're also saying that in a way it comes back to your own philosophy that that they're also collaborative actors in absolutely see the intention of me going there is not to do a Basha or a tan or anything I I pure talent collaboration just want to go there and uh interact with them and you know talk to them and I'm very fortunate that I have that relation with all of them now like you know I just go to them and ask them so how do you shoot the sequence in Tagan or nagen and he'll have an answer you know so that that that was what I wanted always you know uh absolute Talent collaboration where I can go discuss my stuff they can come discuss their stuff and that's happening that's very clearly happening right but what you call Talent collaboration there are certain websites especially in the malam industry that that kind of keep raising this question you know why is Fahad going and acting in like relatively supporting roles in languages uh in other language films and like how do you how do you answer that when like why can't you come and act in malam films in bigger roles is what the their question is their anguish I think I don't know so uh I don't work on timelines I have no sense of timelines I never finish things on time I never start things on time like all that there's no plan for all this I'm just doing things that I'm excited about and and evidently I I I tell my audience my commitment to them is just I'll try and make the film watchable I don't want them to think about me otherwise I don't want them to think what you know worry about what I'm doing with my life just don't take me seriously when you leave theaters just think about me in the theater that's all and I don't I don't want I don't want people to you know uh talking about actors or performance on the dining table you know let let them just discuss in the theater or maybe on the way back home the drive you know not more than that Cinema is not beyond that you know CA has a limit and let's just put it there you that's not how a cinile operates at the point of of of that's what I want to change you know that's what I'm not saying I want to change but there's more that you can do with your life than watching you know oh definitely see the thing is but but the point is if a medium it could be anything it could be writing it could be whatever photography it could be anything right if most people have music for instance like you're obsessed about music Cricket does 20 times of what Cinema does you mean in terms of money everything yeah Cricket does 20 you know times of what C do right but but the point is if something obsesses you you you end up talking about this batsman's uh you know Strokes or play the way he approaches a shot the way he did that in the previous game so it's not so I'm so I'm saying that for me the way you acted in nisham versus the way you approached the role and push for similar larger than so that's I I don't think it's a waste of time I so that the life of that should be till I do a next film not not till I do my you know uh right but because you are a constantly evolving actor and the films are also conciously evolving because audiences changed new directors come in they breathe in New Blood it's fascinating to look at things in a Continuum rather than just that particular uh oh fad aam it's a hit let's move on you know it's not that it it sounds more beautiful right he did aish him done now let him come with something else why think about him you know I I think we need to have a longer conversation this after I think arm does this I mean at least arm used to do that in 2000s and all that he would disappear after Lagan and and come with a Mangal P again disappear and come back with the you know so I think I've heard dilip s does that D Kumar Sab used to do that uh I like that you like that I like that I don't want anyone to talk about me or celebrate me or anything just watch my films and and that to only if it's good and if it's not good don't watch it I'm very clear about that yeah right when you say that uh you accept films because it gives you the chance to do something that's new right but with films some films like aam for instance do you also have a gut feeling that I think this film is really going to break out I think this film is going to become like quite a big hit does that happen I had that with Kumi okay I had that with kuming I had that with vtin in fact I had with trans but I was wrong but with trans I thought that's that's what you know with relig you shouldn't take religion or any such thing as a setting for a film it can only be a fact you also had movies like I pakam I think which kind of looked at job's story through a yeah yeah yeah yeah yeah yeah but there was no religion or anything I mean Oh you mean in the movie in the film in the film yeah yeah uh so I I I generally have that I had that with Nan prash and like I said the artistic side is there the other side is more like I spoke about the recovery and all that right so I'm very active that way I I I'm very Shar with numbers so so I I'm very conscious that way I I'm worried about the recoveries the costing and everything right so I I I'm I'm involved in that right right so supposing you are like producing uh let let's say a movie with forget Aisha because that give you a gut feeling but let's say you're producing a movie that you're like okay I like this movie but I'm not so sure then you'll work accordingly so that the costs are manageable yeah absolutely absolutely can you name a movie that you did that way Malang Mal I was going to just say that yeah yeah very I mean of course rman and everyone was there but the scale of the film scale of the fil also it's it's not a easy film to watch you know it's not very easy a lot of people complain clop phobia and things like that so yeah so such models yeah we we we prepare ourselves you know I mean right there have been a bunch of malam film directors uh that I like a lot and I cannot name now but you know a lot of them and you worked with a lot of them that have come to me and said not come to me as in when I met them at festivals and other things they all say that they all want to make a certain kind of movie but the Market's kind of pushing them to make a slightly different kind of movie and I go back to the word that you said early on which is entertaining as long as something is entertaining it's being consumed by the audience has entertainment in some way become a must and if so how do you define entertainment for example let's take AR withm big Blockbuster how would you define the word entertainment with respect to that because in a way the survival aspect mirrors that of malan Kun yeah the scale is different all that is different but when you look at the basic story of so uh I think by entertaining isn't it just good enough that you hijack the audience even if it's just for a scene if you can just totally get them into the film okay for me that's Entertainment you know you can't have the audience with you throughout the 2hour 30 minutes running time or anything but wherever you can actually I mean you you you make the film like that right with the hope that end of this act audience are going to get locked in and of this act you know there's a relief point for them and again they'll get in so when you plan a uh screen play these moments are there and while you're shooting it for me it's about okay let's see the possibility of this moment let's see how much can we connect to the audience right whether it's AR with them or malti or mal or boys I think the entertainment Factor was that audian at some point getting locked into it right and that I and see and that needs to be built on you know that that that has to go on to emotional level that has you know if need be that has to go on to a bench level or you know I mean it depends on the story that you're narrating but the basic entertainment is to actually lock in the audience with your main act at some point right right that's that's an interesting definition because typically when people say entertainment they mean you laugh you cry that's s I've read I think so Mana in one of the interviews said music brings in a lot of relief so that that is also a factor maybe like I said that that connect you want with the audience is the relief point right so the music can be one of the aspects so different directors use different tricks for this uh there are directors who just use a dissolve and hold a black screen for two seconds right you know so different people have different methods to crack this uh but these are the moments I mean you should know about that before you start your film where you're actually trying to uh bring in the audience and you know just just log them totally right uh so I mean you discover these points and then then sort of right so by like in these many many years of acting in movies being part of movies as producers being a director's son all that seeing all that do you think now you have a fair idea of what entertainment is and how to lock an audience sir the thing about what what still I still have to look at a mirror before I give a shot I still have to uh ask my costume guys and there are boys who do this so easily in front of a selfie cam they don't care they're so organically they're doing it they go around they show things and I don't know how how they do that you know so it's changing in in a pace that's that's difficult for us to catch up with I mean when I say this uh I'm sure writers are experiencing this or the musicians are experiencing this uh so the world of the society is evolving at a pace where catching up is hard but uh there is so much to reflect on or you know there's so much to discuss in this you know because there's so much change happening there's so much to discuss right uh so I think it'll go in I think you know so when you were on the sets of aam and the three boys are there who are all like YouTube right was did you see that difference absolutely I mean so one time we were shooting next to a school and I was in the it I was calling for the shot and suddenly they came in and said no no don't come the school just left I said yeah so but you know I'm sitting in the vanity so it's a big deal so hipster uh apparently he's so popular with the younger crowd and that to it was not a it was Bangalore not malal kids Mal kids or he was kids came in they stood just to see him say hi to him just wave at him so everyone is a star in their own way and you know uh and I I always tell people you know the younger generation they don't they're not bothered about the camera they're not bothered by the lens they're not they're not conscious like you know because they've been seeing and involving with this for a long time it doesn't matter to them how they're captured or and I I see that with a lot of talents now I mean aam also these boys they I've never seen them going and asking where's the camera or what is the lens or even when I run to the monitor after every shot they're not bother they just there you know and I think that's very fortunate that you can perform and not worry about anything else I think that's magical but that might make your life a little easier no if you could if I can do that oh yeah if I can give a shot and not be worried about how it is that's dream I I'll quit after that so would you say that there's also a bit of control a bit of a control freak can you that wants things to be a certain way I'm a bit of OCD uh yeah that's there right A lot of people find it hard but so now you found your way right you know so right but are there directors who came and say okay fad I know you're trying for you want this take but I'm going to stick with my decision of this take because for me that works every director show me that every director everyone has a different way of saying this uh jitu madavan maybe he'll say no no no it's okay I I like that let's go with there uh Anar would say I got what I wanted now if you wanton explore we'll explore so everyone has a different way of saying that the has a different way of saying that so yeah so it's a trial and error in aam itself was there any one scene that you say was the most difficult thing to play because it involved a lot of physical the singles shot you know single take things so aish had a lot of difficult so you know sometimes we wonder this guy needs to be funny or does he needs to look you know more uh I mean does he have to be a hero kind of a guy does he have to be a villain or so this was a we I mean he could be anything and it was important for us to choose on a flavor and play around with it so it was very difficult you know I mean now you have to do a part to it's easy but now I mean to get into a to give him a structure with all these emotional uh you know all the dark side of his past or his innocence or his foolishness to package everything into that form was a little difficult but now I mean it'll be a cakewalk if you have to do a part two right but is just to take us through it is there one point which you can just remember offand where you you kind of found it a little difficult to get into that scene or Bo or zone or so the mother's thing um so there was a sequence uh I mean in the climax where I cry so this was short uh three different timelines like because I look three different looks it's a single shot but it had to be shot in three different timelines so every shot had to have that uh uh intensity of this this man being alone you know his mother left him or his brother he trusted left him or the boys he trusted left him for me it was very very difficult to get that aspect that this man is alone this man is alone and he's never been alone in the film right there are three scenes where you see him alone one he's dancing after his sh or getting ready then you see him sitting and eating then there's a sequence where he B calls him these are the only three scenes in a you see him alone yeah other he's never alone you know like uh so to make him to make audience believe that he's alone with a with a shot was very difficult I mean that that matching that aspect was a little difficult for across those three I I I asked him for a scene from the past I said don't you think a scene with his mother would make a lot more impact than a shot like this and he said it's so easy anyone can do that actually that's true yeah anyone can do that and then that shocked me and he just sat in front of me he said flashback anyone can do that right then there has a point then that's how we try and right you have to bring the flashback into your in in in a short in a short yeah that's now that we've discovered you don't like talking about films what are your some of your favorite Indian or International films in the sense of what's what of the films that have made fad go I would love to be a part of something like this Cinema Paradiso okay it changed my life it changed your life changed my life yeah yeah yeah I I I I still wish to give the audience who watch my film what I felt watching Cinema parody show and you know you you feel you haven't done that no not anywhere close to not I have not changed anyone's life Cinema parodies have changed my life but how can you say that for the other person has to say that I've not met anyone I would have changed my wife's life and all my yeah so I mean I'm talking about the impact of film did to me um also Amor peros or a lot of films I mean you know uh but I what I wish for is that what these films did to me before I quit I just with at least one of my films I want to give that experience to the audience right right do you have any plans to direct films I can't direct you can't I can't you again is it the OCD thing or I can't Direct I'm not but how do you know that sham says that I can write but he's never offered a film or anything but but have you written on your films not is a form of writing yeah that's s that's s so sometimes you write and you give them your draft and you know so it's not evidently right right but yeah so thank you for being here and having a difficult time with this interview but I just have to ask you this finally what does it feel like when you always always run into articles or people talking about fad fil's eyes I have my mother's eyes and no one saw saw it till I was 30 years I think and so it's a shock for me you know what is that they see that no one else saw for the first 30 years of my life no one spoke about in school or college or you know I think it's thanks to whoever invented Arie you know and it's the lenses and the camera and the uh shift to Digital Cinema that's right helped me yes but thank you for your time fad and uh looking forward to your big lineup this year you have uh uh pushu with aljun you have veran with rajnikant you have and I have a beautiful small film with Al Sim oh that's the one that you want start that's that's going to be out this year as well uh we're trying end of the year but yeah okay I also have a very cute film with v that I'm doing in Tamil okay yeah that's also this year wow that's a busy year yeah yeah so I mean I'm almost done with those films I you know hardly have another schedule but all fun films yeah nice I'm happy thank you sir thank you GT holidays South India's number one travel brand GOI a vernacular edch brand Skilling everyone everywhere [Applause] [Music]

Channel: Galatta Plus

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Id: qszxdw4TQDM

Length: 46min 25sec (2785 seconds)

Published: Tue Apr 23 2024