It was a pleasant surprise for director Radha Mohan when it was pointed out that it’s been 20 years since he debuted with “Azhagiya Theeye” (2004). “I wouldn’t have realized it if you hadn’t mentioned it. It’s been very eventful, and I’ve learned a lot. Being a part of this industry for so long by itself is quite a big deal, and I’m happy for it,” smiles the filmmaker, who is making his OTT debut with Disney+ Hotstar’s “Chutney Sambar,” starring Yogi Babu in the lead role.
Excerpts from a conversation:
In the world of entertainment, web-series have become an inevitable medium, and I have been wanting to do one for a while now. Unlike a film, a series needs a bigger story. When this story came up, the idea was initially to make a film out of it. It’s a story that can only be headlined by Yogi Babu, and if not for him, I would have dropped this project. When he said he liked the story, I began developing it further, and then the tie-up with Hotstar and Vels International came up.
When they suggested turning it into a series — a format I have been eyeing for some time — I took it up. We also felt that amidst an influx of murder mysteries, something breezy and comical would be a welcome change. Because the screenplay structure differed, we worked on the story, added more characters, and made sure there was a hook at the end of each episode.
I couldn’t think of anyone else for this character. Be it his looks or the backstory of his character in the series, only he could pull off this role. Not all comedians can play lead characters. The idea was not to make him a hero; he is apt for this character, and I’ve done this before too (in “Uppu Karuvaadu”). I have always believed that Yogi Babu is not just a comedian and can express serious emotions uniquely. He’s a natural actor who improvises on set with dialogues, so his approach to emotional scenes is also unique.
In films, there’s only so much we can write as a backstory for supporting roles, but a series has the space for each character to have their own arcs and goals that impact the overarching story. It was challenging to write such characters. We also have to pique viewers’ curiosity at the end of each episode, ensuring that it’s relevant to the story and not intentionally misleading like we often see in crime thrillers. Thankfully, it all came together well.
That’s the biggest learning process. The goal is to create content that makes an impact when viewed on a mobile phone. For an emotional scene, for example, a mid-shot might not have the same impact as a close-up, especially if it’s performance-heavy rather than dialogue-oriented.
For me, it comes down to which story I’m convinced to do at that time. It does not matter if it’s out of my comfort zone or a different genre.
. I don’t set out to specifically make a feel-good or comedy film. If I have four stories in different stages of development, one might be a romantic story or even a fantasy. For a project to develop, several criteria need to be met, such as finding the right production house. So based on which one is shaping up well, I go with it.
Irrespective of the medium or the film’s scale, keeping a tab on the budget should always be a priority for filmmakers. If a film requires a big budget, there should be a plan to recover it. Similarly, if it’s a small film, one has to know how to work within those limitations. If a project demands a bigger budget, then patience is needed to play the waiting game for the right cast and producer.
If I’m making a big film with a star, it will include several elements, including a villain, and the attention will predominantly be on them. In my films, most of the time, the conflict of the primary characters will often serve as their villain. I’ve always believed in the necessity of strong supporting characters to drive the plot forward.
Because most of M.S. Bhaskar’s roles turn out to be so memorable, it might seem like he is in all my films! But I never write characters with specific actors in mind. However, I do respect these actors; if I know they fit a character well, there’s no turning back.
Apart from the audiences who watch films for content, there are also many fans who watch films for the stars in them, a trend that dates back to the ‘60s. The makers like to exploit that, and sometimes the actors might not prefer to do smaller films. Big stars doing smaller films have often resulted in failures, as the audience doesn’t want to see them in such projects. In Kerala, I suppose the audience’s mindset allows them to see all sorts of films. Here, the big stars are getting bigger due to pan-Indian films, which is beneficial for the industry.
What I’m learning today will guide me forward and not just the 20 years of experience beforehand. I’m not active on social media, but I should know how people use and misuse it. If I stop learning, observing, and updating myself, I’ll become obsolete. If I convey a point, it will be received differently by someone of my age group compared to youngsters. Their point of view is important, so I keep myself surrounded by young assistant directors. Keeping ourselves updated and continuously learning is crucial.
Chutney Sambar will stream on Disney+ Hotstar from 26 July.
Tamil cinema / Indian cinema / television
