He made his debut in Tamil cinema in 2014 with the film Pannaiyarum Padminiyum, which garnered multiple awards and established him as a promising director. He subsequently directed Sethupathi, Sindhubaadh, and Chithha, but it is his latest project under the direction of SU Arun Kumar that has truly elevated his profile. 

His recent film, Veera Dheera Sooran: Part 2, featuring Chiyaan Vikram, SJ Suryah, Suraj Venjaramoodu, and Dushara Vijayan, has become a major success. In an exclusive interview with Hindustan Times, the director of the short film 5 Rupees discusses his achievements and setbacks, revealing that 80 percent of his narratives are drawn from real-life events.

Your versatility is quite evident as each of your five films has been different in terms of the subject.

I enjoy transitioning between different genres as it presents a challenge and allows me to step outside my comfort zone. I prefer not to create the same type of film more than once. If I were to do so, I would need to become an expert in that particular genre, which I recognize is beyond my capabilities. Additionally, I believe that confining myself to a single genre would limit my creativity.

A lot of people commented that Vikram has had a big hit after so many years. How does it feel to hear people say that?

To be honest, the response to Veera Dheera Sooran has been overwhelming. However, I don’t look at it like that. Whether it has been my flops or Vikram sir’s flops, we have worked on each of the films with utmost sincerity. Eventually, it ends up in failure and only post that do we know what went wrong in the film. There’s a big learning from the film and we then proceed to the next project. But I’m happy to hear people say that Veera Dheera Sooran is a big hit for Vikram because, for me, this movie has to run and be successful for Vikram, sir. He is such a humble human being and even after doing more than 62 films, he still treats every film like his first film.

Given the appreciation you’ve had from the industry and audience right from your first film, do you think you’re still an underrated director in Kollywood?

(Laughs) Thank you! Many people express this sentiment to me, but I actually enjoy being in a space where I can remain concealed from the outside world. However, I anticipated that after the release of Veera Dheera Sooran, I would become more widely recognized. You are correct in your observation; I am not acknowledged as either a commercially successful director or a thoughtful one. I have contemplated this frequently, though I did not take it too seriously. I considered that perhaps I should strive to create better films. When I receive praise for Pannaiyarum Padminiyum and my directorial abilities after 11 years, it frustrates me because I had hoped for such recognition at the time of the film's release. I never received the acclaim I truly desired for that project. A director's debut film is deeply personal and remains close to their heart throughout their life. When Pannaiyarum Padminiyum was released in 2014 and did not perform well, it took me a considerable amount of time to recover from its theatrical failure. However, I have learned to move on from my films much more swiftly now and focus on my next endeavor. Many things no longer impact me as significantly as they once did.

Do you think Sindhubaadh (2019), which flopped badly, was a miscalculation on your part?

This film served as a valuable lesson in what to avoid. In my pursuit of elevating the scale of my work in Sindhubaadh, I aimed to reach what is often referred to as the 'creamy layer' of filmmaking. However, the movie not only failed commercially but also failed to resonate with audiences. I realized that attempting to create a large-scale film merely for the sake of grandeur is misguided; instead, the emphasis should be on producing quality cinema. At that time, my personal life was also in turmoil, compounding the challenges I faced.

Will you push yourself to make say a ₹200 crore film now?

We ought to focus on our strengths, a principle I remind myself of frequently. Take Kamal Haasan and Chiyaan Vikram as examples; they persevered through their setbacks. Films like Anbe Sivam and Virumaandi are now celebrated as masterpieces, yet they initially struggled at the box office. Nevertheless, Kamal Haasan continued to pursue his passion and remains open to experimenting with his projects. While not every endeavor yields success, the crucial aspect is that we made the effort.

I will not pressure myself to create a blockbuster; that is not my approach. For instance, with Veera Dheera Sooran, I initially had only the story, which was not conceived as a high-budget film. Its scale expanded once Chiyaan Vikram joined the project. I firmly believe that the essence of the story is paramount. If the goal is to produce a grand film, it must be crafted as such from the outset. Often, we inadvertently compromise the narrative by incorporating superfluous elements.

How did Vikram come on board for this film?

He had a deep affection for Chithha and expressed his desire for a Sethupathi crafted in the style of Chithha. This was the perspective I held at the time. I appreciated his input and took my leave. From the very beginning, we shared a mutual understanding, which is a rare occurrence. Although I did not initially envision him while writing the first draft of the script, his involvement made me confident that this would undoubtedly be a unique film for Vikram.

What is the next genre you want to work on?

I want to do a love story in the near future. I’ve written the first half of the story, and it’ll be really different. The romantic aspect seeps in unconsciously into my scripts like in Veera Dheera Sooran. When Vikram sir tells my family that I’m a really romantic person, they all stare at me like, ‘Who is this person?’ (Laughs) Even if you do the same genre, the casting and the world you create should be different. And if it’s the same actor, then a different genre. For instance, if I work with Vikram sir again, I’d like to do a love story or a comedy with him.

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