What is the unique thing about PAPA?
It is a very normal story about an average girl and boy and the characters behave how a normal boy and girl behave on an everyday basis. I wanted to make a film where the characters would interact in a very organic way and where it should feel as though we have recorded two normal people in their lives with a camera.
What is the new thing that you have explored in the film?
It is not a film that would feel like it’s scripted. We did not rely on scripted dialogues or comedy or any such thing. We wanted to explore everyday human behavior. You’ll understand after you watch the trailer.
Isn’t it difficult to write casual movies more than scripted ones?
I feel every movie script has its own journey. I enjoyed a lot while writing Oohalu Gusagusalade, which is a scripted story. I enjoyed a lot when writing PAPA as well because I was trying to explore human behavior.
Was it difficult writing PAPA?
Nothing like that. When writing a story, we naturally adapt to the kind of story that it’s going to turn out to be. It also carries forward in the process of filmmaking, with other crew members as well.
It’s been a long time since you came to the industry, then why do you take a lot of time to make films?
I take a lot of time to write stories. I usually take at least a year and a half to finish writing a story. I started writing in 2019. We had a foreign schedule planned but that got canceled because of Covid. There were a lot of complications with Visas, which is why there’s been a long gap. it nearly took 5 years to complete the film.
What is the difference between Kalyani Malik’s previous work and his work on this? Why does he think his work on this film is better?
I’ve known Kalyani Malik since Ashta Chamma. We always vibed together. Our professional relationship started with Oohalu Gusagusalade. Our communication has only gotten better with each film that we worked on, which is why I think the music of this film came out so well. I think Kalyani Malik thinks his work on this film is better than his previous work because of the kind of response he is getting from everywhere, especially from his family members.
This is the third consecutive film for you with Naga Shaurya. Why?
He’s a great actor. This film in particular is heavily dependent on the actors’ performances, and when we were shooting abroad, amidst covid and all the visa complications, what kept me motivated was Shaurya’s performance.
Do you write your stories keeping Shaurya in mind?
Nothing like that at all. Yes, I am comfortable with Shaurya, but I think writing a story keeping a particular actor in mind limits your filmmaking capabilities.
Generally, anyone who has tasted success in the industry wants to up their game with every movie, from the actors they work with to the technicians and others. Why do you continue to stick to the same team?
It all depends on the story that I write. If the story is a grand one, then I would try to make a film that would suit the story and select my team accordingly. A film like Oohalu Gusagusalade gave me immense satisfaction and I don’t think making a film on a grand scale would give me such satisfaction. So, it all depends on the story at the end of the day.
In his previous interviews, Shaurya said that this film is going to be the best in his career and that all of you are working hard. Why is it so?
This film has seven chapters, each being 20 min nearly. These seven chapters take place in the span of 10 years. In the teaser, you can clearly see that Sharuya has been seen in a few different getups, as an 18-year-old boy and as a grown-up man as well. He worked very hard to get those looks right, and the energy and mannerisms of that age group right. So it’s really a major film for him.
You’re an actor yourself, so how has that contributed to this film? Also, what was the process that went behind wanting to make a film that is completely improvised, which is a first of its kind in Telugu cinema?
Before Sunrise and Before Sunset are two of my all-time favorite movies. I always thought about how it would be if someone wanted to make such a film in Telugu, and always thought of the kind of story and dialogues required to make such kind of film work in Telugu. Making such kind of a film always requires a very good cast and their input while making the film. I personally think my strength as a director is directing my actors. So that’s how I got this film made I guess.
How did you persuade your producers to make this film?
I think that part was done during the making of my first film itself. After that, a trust factor was established between us, so it wasn’t a difficult task to convince them for this film.
Malavika Nair is a very choosy actress, so how did you convince her to do this film, which also has a few bold scenes?
When I narrated the script to her, she reacted very emotionally. So I thought that she would bring out the emotion of the character extremely well if she played the part. Coming to the bold scenes, I think any actor would do them if the sequences preceding it are convincing enough and make them feel that this is the emotion that those sequences lead to.
What is it that you are trying to convey through this movie, and is it a family entertainer or a love story?
There’s nothing as such. I just want to give wholesome entertainment to the audience when they come to the theatre to watch this film. This film is definitely a love story.
There were a lot of gaps while making this movie, how did that affect your script?
For this movie, that gap was good, because we had to show a lot of variations in our actors, based on the age group. So that worked out in our favor.
This is a script that you wrote before the covid pandemic. Movie results have been very different after the pandemic, and are you scared that the current scenario may not work out for your film?
I am definitely scared about the film’s end result for sure. However, I am also not falsely marketing the film. What I believe is that while the way entertainment is being consumed has changed, the people who are consuming it haven’t. Audiences will receive any film that speaks to them and entertains them. If the film doesn’t do that, then the film wouldn’t work in a pre-pandemic world either. I made the movie I wanted to, and I just hope that the audience will like it.
Will you be seen in the film?
Yes
How crucial is your character to the film, and how will the film change after your entry?
There is not a single character that you can call a plot twist inducing character in this film. Every character is like someone in real life. There aren’t any major twists or turns in the film, and every character will come and go like in real life.
It’s almost been 10 years since you made Oohalu Gusagusalade. What are the differences you observed in Sharuya in this gap?
Shaurya is a very passionate actor who always wants to give his best while doing a film. When directing him in Oohalu Gusagusalade, he was still not established. So I thought it would be a little different directing him now because he’s established himself in the industry. However, he’s always ready to try new things and do things in a unique way and is constantly giving his input to make a scene much better than it already is.
Is your next film going to be with Shaurya as well?
It depends on the story. I don’t write my story with any particular actor in mind. If I feel that Shaurya is the right actor for my story, then I would cast him for my next as well.
You made a film called 101 Jillala Andagaadu in between. That didn’t work well. Were you disappointed because of that?
No, not at all. Like I said previously, making a film is all that we can do. The film’s result depends on the audience watching it.
Why did you not direct 101 Jillala Andagaadu?
I had already completed shooting for the India portions of PAPA, and I don’t like to direct multiple projects at the same time as I don’t think the creative aspect works well for that. That was why I didn’t direct the film.
There are a lot of fans for your dialogues, and your work on Brahmastra and Avatar 2 has been appreciated. How do you feel about that?
I am happy to know that people love and enjoy my dialogues. When I got Brahmastra’s offer, I wasn’t told which film I would be writing for at first. When I got to know, I was excited. That worked out well, and then I was offered Avatar 2, which worked out well too.
How was it working on Avatar 2?
It was quite challenging as Hollywood and English sarcasm are very different from Indian sarcasm. So it was easy dealing with such situations in the case of Brahmastra, but for Avatar 2 it was challenging. I was also very conscious while writing Avatar 2 as I didn’t want anyone to make fun of the Telugu version like how we used to make fun of the Telugu dubbed versions of Hollywood films previously.
What’s your next movie?
I am working on a script right now. It’s still not in the narration stage now, I think it will reach that point once I am done with the post-production works of PAPA.
Do you have any actor in mind for that film, and when will you work with Nani?
I don’t have any actor in mind still. I think I’ll get to know who might be suitable for the role once I am done with the script. I share a very close and personal bond with Nani. He has immense confidence in me, so I want to make a film with him only when I come up with a script that I am sure will live up to his image and one that he can be proud of.
What are the films that you have lined up, as an actor?
I completed a series called Kanya Sulakam. It features, Anjali, Murali Sharma, Naresh, and Varsha Bollamma. It is slated to release on Sony Live sometime next month.
Do you like yourself as an actor more or as a director more?
I can’t decide. But yeah, I definitely want to concentrate more on directing in the future, because it needs a lot more focus and hard work. I will always be willing to do quality films as an actor whenever they come my way, though, like Kanya Sulakam.
What is the genre of Kanya Sulakam?
It is a rom-com.
Coming back to PAPA, how did you come up with the title Palana Abbai Palana Ammai?
It was just a rough idea I had when I narrated the film to the producers. Producers usually don’t like my titles, but my producers liked this and they got the title registered immediately. This was refreshing for me.
What is your view on the rise of OTT? Do you think it is a boon or a bane, especially considering that some are feeling that it is a bane to smaller films?
I think it depends on a person’s point of view. I personally feel that it is a boon because I feel if you think it’s a bane, then you’re resistant to change. Thanks to OTT, almost everyone in the industry is working on some or the other project and everyone who wants to tell a story is getting the chance to do so.