He is not merely a director capable of vividly portraying romance on screen; he is also unafraid to express his opinions. During an interactive session at the Bengaluru International Film Festival on Wednesday, Gautham Vasudev Menon shared his aspiration to create a grand romantic narrative. “Currently, no leading actor seems interested in participating in romantic films. I reached out to stars in Tamil, Telugu, and even Kannada cinema, but as soon as I mentioned it was a romance, they either delayed our meeting or declined to meet altogether! You should inquire with them about their reasons,” he remarked with a smile, earning the title of the ‘king of romance.’

He acknowledges several influences, including Mani Ratnam, Kamal Haasan, Guru Dutt, and Raj Kapoor, emphasizing that Kamal Haasan has had the most significant impact on him.

The choices he makes

Regarding his creative choices, the director of Vettaiyadu Vilayadu elaborated on how many of the stories he writes are inspired by his own life or that of his family.

“Fortunately, I have not exhausted these narratives yet. This is how I embarked on my filmmaking journey, and I continue to follow that path. I take great pleasure in being involved in the filmmaking process and drawing audiences to theaters. Each of my films has been experimental in nature. For instance, when Kaakha Kaakha was released, the audience initially struggled to embrace it due to its innovative editing style. However, it eventually gained popularity,” he explained.

When asked if films sometimes prioritize fan service for stars over the storyline, Gautham responded, “I don’t believe I have done that excessively. In fact, Ajith sir has mentioned how Yennai Arindhal shifted the trajectory of his films. When I directed Dominic and The Ladies Purse, I focused on Mammootty as an actor rather than as a star.”

The current landscape of cinema reveals that audiences are increasingly drawn to OTT platforms, posing a significant challenge for filmmakers and the industry at large in attracting viewers to theaters. "I am uncertain about how to entice audiences back to theaters; I am still in the process of figuring it out. While people attended Vendhu Thaninthadhu Kaadu, they did not show up for Joshua," he remarked. "In the Tamil and Telugu film industries, stars continue to draw audiences to theaters. Vettaiyan, despite deviating from the typical Rajinikanth film, opened to impressive numbers."

Movie business under threat?

The director of Dominic also addressed the influence of OTT platforms on traditional theaters. He referenced Sean Baker’s remarks from the recent Oscars, stating, "We are undermining the theater business ourselves. We seek digital sales and utilize that revenue to fund our films, subsequently releasing them according to the platform's schedule. Initially, I believed that OTTs would democratize access to cinema. If a film is released online three to five months later, theaters could still thrive. Unfortunately, this is not the reality. I hope that our reliance on digital platforms diminishes, allowing us to draw audiences back to theaters. We must focus on crafting compelling narratives. It is essential to return to the roots of filmmaking."

When prompted, Gautham Menon expressed his concerns regarding the personal nature of some reviews. "I take issue with reviews that become personal; such behavior is unprofessional and inappropriate. Social media and YouTube often feature critiques that are scornful and disparaging towards directors. The true writer within them emerges. If you have such strong opinions, why not create your own film?"

Celebrated for his romantic films, Gautham was also asked about the contentious topic of stalking in cinema. He responded, "I do not wish to adopt a moralistic stance. I wrote the character in Vinnaithandi Varuvaaya, and the female character had no objections. My films consistently maintain a boundary. Different eras have varying standards of acceptability. Even in Mani Ratnam’s Mouna Ragam (1986), Karthik pursues Revathy. I refuse to allow any journalist to dictate the narrative of my films."

Gautham recently expressed his belief that there is no necessity for films centered around caste. He elaborated, stating, “The context of my statement is often overlooked. When the division within cinema is continuously highlighted, it perpetuates its existence. In my perspective, this division does not exist. The films produced are merely reflections of the cinematic landscape from the 1980s and 1990s. I challenge anyone to present a contemporary narrative that illustrates caste-based conflict. I prefer not to critique the works of others—who am I to comment on their films? I choose not to take a stance. This is my perspective.”

In recent discussions, topics such as star salaries, entertainment taxes, and ticket pricing have emerged. Gautham Menon remarked that the desire for quality theaters and an enhanced cinematic experience justifies the associated costs. Regarding star salaries, he simply smiled and remarked, “If Mr. Amitabh Bachchan arrives on set with ten companions, I would be more than happy to welcome him and his entourage. There is no issue whatsoever.”

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