In Malayalam, I can improvise, and acting is easy because I think in Malayalam, but for ‘Velaikkaran,’ I had to prepare for a role, which is a first for me.
People know me through my characters. I don’t think they have any idea about the individual that I am. They know I am a director’s son, and I am married to an actress.
The closest encounter I had with films in my childhood was sitting on the lap of my father at a shooting set, and he would say ‘rain,’ and it started raining, and then he would say ‘song,’ and people started dancing. I thought I was sitting on God’s lap.
I have been fortunate to collaborate with people who have been open to discussion. If I tell them something, they have always explained to me why they want it the other way.
When I listen to a basic thought, I try to visualise the cinema in it. Sometimes it is dark, sometimes boyish, sometimes amateurish. It is a trial and error method. But the bottom line is that I want to entertain the audience.
I’ve done only things I’ve liked, and I’m happy that others have liked them, too. I hope it keeps going that way. But l would never want to do films which please just one set of audience; they should connect with everyone.
There are two kinds of films: the ones that are devoid of logic but can still hijack the audience, and those that can win them over with logic. Both kinds can succeed, and I like to work in both.
The less people know about you, the more you understand how beautiful life is. It’s good when you exist only on screen. I don’t want them to take me home. I love to have my privacy.
