#ManjummelBoys #WriterGylton #ilaiyaraaja #Kamal #Chidambaram #FilmibeatTamil
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00:00 My friends came from Kerala.
00:02 They were going to make a film.
00:04 I was the artist selection.
00:06 I went to the rehearsal room.
00:08 I asked them, "Ram, can I act too?"
00:10 I just asked them.
00:12 They said, "Yes, come."
00:14 A month later, I got a call from the production.
00:16 They asked me to come and write Tamil dialogues.
00:18 You went to act, but you got the opportunity to be a dialogue director.
00:20 Yes, yes.
00:22 I know it's a serious matter.
00:24 They said, "Sir, you dropped your friend. You should have picked him up."
00:26 They shook hands at such places.
00:28 They said, "God is the one who sees death."
00:30 "Our people should see us."
00:32 "Our people should see us."
00:34 Friendship films are always successful.
00:36 There is a minimum guarantee.
00:38 Take Friendship films for example,
00:40 'Kaadhal Desam' and the current trend.
00:42 Even if you take Vikram Vedha,
00:44 they are still cute friends.
00:46 No matter which generation you take it,
00:48 a film with a good actor
00:50 will always be successful.
00:52 It will be a success.
00:56 Kamal sir was 33 years old when he shot the film.
00:58 He is also 33 years old.
01:00 When he shot the film.
01:02 For 'Sidambaram'.
01:04 The years that followed for this film
01:06 are 33 years.
01:08 All these are a special thing.
01:10 It's connected.
01:12 That's the thing.
01:14 I don't know why they actually celebrate Kamal.
01:16 Because that film is different.
01:18 Both of them have a common word, 'Koohai'.
01:20 We can't talk about their success.
01:22 'Kulannari Kottam' is a film.
01:24 I was surprised.
01:26 I was like,
01:28 how can I write a film
01:30 with a guy like him?
01:32 I was shocked.
01:34 I didn't know how to write a film
01:36 in the bank.
01:38 'Madurai Srangu'
01:40 'Nakkal' and 'Naiyyaanti Onda'
01:42 were the films I wrote.
01:44 I was spoken well.
01:46 Then I met Sushendran.
01:48 He called me to 'Aadharal'.
01:50 'Onidiya Thamizh'
01:52 Greetings to all.
01:54 I'm Ranjith Kannan.
01:56 'Tamilnadu Kerala'
01:58 is a film celebrated by the entire film industry.
02:00 It's a film by Manjumel Bhai.
02:02 The person who wrote the Tamil version
02:04 of that film
02:06 is Glayton.
02:08 We'll ask him about the experience
02:10 and the film.
02:12 Greetings.
02:14 How are you?
02:16 I'm good.
02:18 You've been working on this film
02:20 from the beginning.
02:22 Did you guess how many repeats
02:24 the film would get?
02:26 The making style is different.
02:28 It's a different technical style.
02:30 It's emotional.
02:32 When we write and play the scenes,
02:34 we think it's an emotional film
02:36 that will hit.
02:38 But we can't predict this kind of a hit.
02:40 When we write and work,
02:42 we can't predict a film
02:44 winning or losing.
02:46 We work very hard,
02:48 but sometimes it misses.
02:50 Sometimes it hits.
02:52 Some people might guess
02:54 which scenes would get applause.
02:56 We can decide that.
02:58 We can decide which scenes
03:00 would get applause.
03:02 It happened in all the places
03:04 we expected.
03:06 In a serious place,
03:08 people applauded.
03:10 In 'Saavu Pathiru'
03:12 people applauded.
03:14 They applauded.
03:16 How did you get selected?
03:18 How did you get selected?
03:20 My friend Ramachandran
03:22 directed the film.
03:24 He asked me to drop him off.
03:26 He had friends from Kerala.
03:28 He was going to make a film.
03:30 He said he was going to make
03:32 a selection of artists.
03:34 I went to Erickavarara.
03:36 I asked him if I could also
03:38 come and act.
03:40 I asked him as a joke.
03:42 I was in the top of the field.
03:44 They didn't look for regular artists.
03:46 They selected new short films.
03:48 I went there.
03:50 They asked me to act in a scene.
03:52 I did.
03:54 I got selected.
03:56 Everyone else got selected.
03:58 We were all talking to each other.
04:00 I came to know that it was a bilingual film.
04:02 I asked Ramachandran
04:04 to ask me to come and shoot.
04:06 I was so energetic when I saw the team.
04:08 I was so energetic when I saw the team.
04:10 I was so energetic when I saw the team.
04:12 Everyone was so energetic.
04:14 Everyone was so energetic.
04:16 Everyone was so energetic.
04:18 I said I'd ask.
04:20 A month later, I got a call from the production.
04:22 I said I'd ask.
04:24 I said I'd ask.
04:26 You went to act, but you got the chance
04:28 to write a dialogue.
04:30 You knew the writer.
04:32 I knew Kulanneri Kuttamma.
04:34 I knew all the artists.
04:36 I'd known all the artists.
04:38 We've been in the film industry for years.
04:40 The top directors are
04:42 our roommates,
04:44 our friends,
04:46 our seniors.
04:48 our seniors,
04:50 or people from our institution.
04:52 I was in 'Minbhumungal'.
04:54 Samuthuragunny, Vasanth sir...
04:56 I was known to everyone.
04:58 I was known to everyone.
05:00 I was known to everyone.
05:02 People would see me and talk to me.
05:04 They'd ask me who I was.
05:06 I was an editor.
05:08 I was an editor.
05:10 I was an online editor.
05:12 I was an online editor.
05:14 We did a production there.
05:16 We did a mega series.
05:18 We did it in four languages.
05:20 At that time,
05:22 my friend Balaji
05:24 At that time, my friend Balaji
05:26 wrote a film called 'Kulanneri Kuttamma'.
05:28 I was surprised.
05:30 I was surprised.
05:32 I was surprised.
05:34 and then I was caught red-handed in Chennai and I didn't even get a single signature from the bank.
05:41 They said I wouldn't be able to do it. I had to write it down.
05:44 They asked why I was selected first.
05:46 I said it was a film that had the Madurai slang and the humour.
05:54 I wrote it and it was well-received.
05:56 Immediately after that, a friend of mine, Sushintharan, called me and gave me 'Aadharal Kaalisaayir.'
06:01 Those two films.
06:03 The first film was a talkative, comedy film.
06:08 This was a silent film. It was visual.
06:13 The emotions, the mother's cries, the father's beating...
06:16 The girl's love for the boy...
06:19 It was all visual.
06:22 You get it in small places.
06:24 You have to score it there.
06:26 You have to score it there.
06:28 That's how it was.
06:30 'Aadharal Kaalisaayir' was a success.
06:35 Do you feel you've received a lot of praise for a film like this?
06:42 Yes, definitely.
06:44 The film is a very important reason for that.
06:49 I think Eknar heard the stories of the real victims and was very emotional.
06:59 I think he conveyed that emotion to the audience.
07:04 The second half was very silent.
07:07 It was a big recognition for us.
07:10 Did you feel you were getting a Malayalam film instead of a Tamil film?
07:15 Yes, we were getting a Tamil film.
07:19 For a film director, the language is a light.
07:22 When I edit Telugu series and documentaries...
07:25 When I edit three or four shifts continuously...
07:28 I'd be standing next to the fifth shift and asking what they were saying.
07:32 Then you can easily talk.
07:35 When I'm listening, I'd start talking when they cut the fifth or sixth episode.
07:40 That's not a problem.
07:43 But we lose that in cinema.
07:46 Many people say that the film was a success for many reasons.
07:50 What do you think is the main reason for the success?
07:53 Is it the story of Guna Kogai or Ilaiyaraja?
07:56 I'd like to quote a sentence from the Bible.
08:01 The whole Bible has two verses.
08:06 Jesus says in the first verse...
08:09 "There is no greater love than to give your life to your friend."
08:13 The whole Bible has two verses.
08:16 "There is no greater love than to give your life to your friend."
08:23 That's cinema.
08:26 The rising up and the God coming out...
08:29 It's all about love.
08:32 It's about true love.
08:37 Friendship films are always a success.
08:42 Take 'Shola' for example...
08:45 'Sattam' and 'Kamal'
08:48 'Kaadhal Desam' and the films in that trend...
08:52 Even Vikram Vedha is a cute friend.
08:55 He has a friendship with Vedha.
08:59 In any generation, a friendship film is always a success.
09:06 When it travels through a big emotion...
09:11 When it's a story that happened...
09:14 When only one person could have survived...
09:17 That curiosity...
09:20 That's what attracted us.
09:23 Can you accept the comments that the film has been overhyped?
09:27 What hype?
09:30 There's nothing like that.
09:33 Even the posters...
09:36 You know what hype is, right?
09:39 It's the hype of the film's success party on the second day.
09:42 The numbers that have been collected...
09:45 They don't even mention the election.
09:48 They talk about the numbers that have been collected.
09:51 That's hype.
09:54 All the audience is enjoying it.
09:57 All the audience...
10:00 The father, mother, son, daughter...
10:03 They're all sitting in the front row.
10:06 They're all looking at the tip of the chair.
10:09 They're all clapping.
10:12 The characters are also in a state of hype.
10:15 The police are harassing them.
10:18 They're asking them to leave.
10:21 When the man is alive...
10:24 The fear of them is felt.
10:27 The police and the people around him are saving him.
10:30 They're all saving him.
10:33 That's the audience.
10:36 They're not pulling the strings.
10:39 That's the curiosity of the film.
10:42 That's why I didn't post it.
10:45 I saw a comment...
10:48 You should definitely answer that as a writer.
10:51 In Malayalam films, there are scenes where Tamil people are dominated.
10:54 We've seen a lot of such films.
10:57 In this film, the police and other characters...
11:00 They're all a bit stubborn.
11:03 They don't help.
11:06 Do you agree with that?
11:09 I don't do that.
11:12 When we open the film in the office...
11:15 They're going to buy the cassette.
11:18 No such incident has happened anywhere.
11:21 Until then, no such incident has happened.
11:24 It's happening in police stations for the first time.
11:27 The reason for that is...
11:30 Whether it's a prohibited area, he should not go.
11:33 That's what the police do.
11:36 You shouldn't drive with water on your hands.
11:39 How can you say that he's honest?
11:42 He's a big shot.
11:45 He should get a body.
11:48 Only then can the case be closed.
11:51 You don't need a body.
11:54 At least you need a corpse.
11:57 If it's a male corpse.
12:00 That's the pressure.
12:03 Everyone knows that.
12:06 No one will come to the scene.
12:09 Even then, 15 lakhs were being paid.
12:12 The actual incident happened in 2006.
12:15 Before that, imagine what would have happened.
12:18 The villagers would have told the police.
12:21 They would have made it clear.
12:24 The police would have been there.
12:27 They would have been there to save the body.
12:30 It's okay to believe that the body is dead.
12:33 But when they hear the voice, they come to the rescue.
12:36 They come to the rescue.
12:39 They buy food from shops on the way.
12:42 They even look at the area and say, "Go away."
12:45 The boys have said that it's happened a lot.
12:48 They say that they have bought a lot of money.
12:51 But here, they say, "If you come here again, I'll kill you."
12:54 That's all they say.
12:57 That's what happened.
13:00 That's what happened.
13:03 But I think our show is very less.
13:06 So, you went to the shooting spot of 'Parthuvani' in person?
13:09 I went.
13:12 I did a shoot myself.
13:15 You were there when the shooting of 'Guna Kev' was happening.
13:18 How did it get recorded?
13:21 I couldn't go there.
13:24 But they shot a lot of documentaries.
13:27 I think they'll release them after the OTT.
13:30 They scanned the cave digitally.
13:33 It was almost 10% of the cave.
13:36 They shot it in live size.
13:39 They framed the light and placed cameras everywhere.
13:42 They did everything.
13:45 Another thing I want to say after the film was released...
13:48 Even in Malayalam, it's not that much.
13:51 In Tamil, it's only 50-80 crores.
13:54 Did you guess when you wrote the script?
13:57 That the film would easily connect to Tamil?
14:00 You can't see it that way.
14:03 Tamil Nadu is a big area.
14:06 We see the percentage of theaters there.
14:09 We see the business there.
14:12 They would have considered a normal film for a new film.
14:15 They wouldn't have bought a Vijay film like Mammootty or other big names.
14:18 They would have been shocked only after they bought it.
14:21 We already celebrate cinema in our area.
14:24 But here, it's a different story.
14:27 Almost everyone in our village has seen Kodaikanal.
14:30 It's a different story.
14:33 It's not like we don't want to go and see it.
14:36 It's a connection.
14:39 When we go and see a film, it's a connection.
14:42 When we celebrate this film,
14:45 Kamal Haasan and Sandhana Bharathi are celebrating it.
14:48 Unagukai became famous.
14:51 Now everyone is going to Kodaikanal.
14:54 But Ilayaraja is not being celebrated.
14:57 Kamal and Ilayaraja are not being celebrated.
15:00 I don't know about that.
15:03 I don't know if he would be worried about that.
15:06 The director is a fan of Kamal.
15:09 He's a fan of Kamal.
15:12 Kamal was 33 when he shot the film.
15:15 He's 33 now.
15:18 He's 33 when he shot the film.
15:21 He's been in this film for 33 years.
15:24 He's been in this film for 33 years.
15:27 It's a connection.
15:30 I don't know why they celebrate Kamal.
15:33 Because that film is different.
15:36 We can't talk about the success or failure of both films.
15:39 We can't talk about the success or failure of both films.
15:42 The hero will be in an unknown place.
15:45 He's mentally ill.
15:48 He's in a place where there are no people.
15:51 He's kidnapped a girl.
15:54 The film is about that.
15:57 It's a real story.
16:00 It's a real story.
16:03 We can't talk about it.
16:06 We have to make it into a film.
16:09 Both are different.
16:12 The song is about Ilayaraja.
16:15 That's the truth.
16:18 I always say...
16:21 He was a king in our time.
16:24 He was a king in our time.
16:27 When I travel with the current generation...
16:30 They'll be singing a song in a very old-fashioned way.
16:33 They'll be singing a song in a very old-fashioned way.
16:36 I don't know the lyrics.
16:39 I don't know the lyrics.
16:42 They'll be singing a song in a very old-fashioned way.
16:45 He's trapped in a room.
16:48 He's trapped in a room.
16:51 He hears the song 'Raja Raja Solal' inside.
16:54 He hears the song 'Raja Raja Solal' inside.
16:57 He was listening to it with a lot of excitement.
17:00 He hears the song 'Raja Raja Solal' inside.
17:03 He hears the song 'Raja Raja Solal' inside.
17:06 He hears the song 'Raja Raja Solal' inside.
17:09 He hears the song 'Raja Raja Solal' inside.
17:12 He hears the song 'Raja Raja Solal' inside.
17:15 He hears the song 'Raja Raja Solal' inside.
17:18 He hears the song 'Raja Raja Solal' inside.
17:21 He hears the song 'Raja Raja Solal' inside.
17:24 He hears the song 'Raja Raja Solal' inside.
17:27 He hears the song 'Raja Raja Solal' inside.
17:30 He hears the song 'Raja Raja Solal' inside.
17:33 It was celebrated.
17:36 Now everyone is looking for 'Guna'.
17:39 Many people are watching it on YouTube.
17:42 Many people have seen 'Guna' and 'KV Nath'.
17:45 But it wasn't celebrated that day.
17:48 We were planning to make a film...
17:51 ...so we went to a friend's house and discussed it.
17:54 We sat on the top of the table and talked.
17:57 We went to see such people.
18:00 But it wasn't celebrated that day.
18:03 'Thalapathy' was released on the same day.
18:06 Was it a commercial success?
18:09 Did the audience turn to you?
18:12 There's a Kamal and Rajini film every year.
18:15 That's the market.
18:18 We know the two most popular films.
18:21 That's the market.
18:24 That's what happens every year.
18:27 But this film is very concentrated.
18:30 'Abirami' and all...
18:33 It's like a hot film.
18:36 I think they didn't let you understand the human race.
18:39 But now they understand and celebrate it.
18:42 Where do you see 'Guna' for the first time?
18:45 I see it in Madurai.
18:48 I was very impressed.
18:51 We can take a deep love subject like this.
18:54 But Kamal sir's films are very emotional.
18:57 He's there in all the frames and faces.
19:00 That's the problem.
19:03 Whether it's Balachander sir's or Kamal sir's films...
19:06 Everyone is there.
19:09 You can easily find them.
19:12 Everyone knows Kamalakasan.
19:15 That's the problem.
19:18 It's a good film.
19:21 I went to my grandparent's village.
19:24 I was running around there.
19:27 I was like a second-rank officer.
19:30 I was looking for a film...
19:33 I was looking for music and lighting...
19:36 He always thinks very advanced.
19:39 If you see Vikram, you think of rocket technology.
19:42 But you can't do that commercially.
19:45 He would take a small paper and fly it.
19:48 That's how cinema was made.
19:51 Forget that.
19:54 He would take a small paper and fly it.
19:57 But he talks about rocket science...
20:00 He does that.
20:03 But that's what's happening today.
20:06 He would fly a missile and bring it back.
20:09 He's tried to do that.
20:12 I don't know if people would have appreciated him then.
20:15 He does it for his own money.
20:18 He doesn't make anyone understand.
20:21 He does it for his own money.
20:24 He's a commercial hero.
20:27 He would show bull-ups in his films.
20:30 Even if he had his usual style...
20:33 no matter what technology...
20:36 be it Avida or computer programming...
20:39 he would still do it.
20:42 He would do it for his own money.
20:45 He would do it for his own money.
20:48 He would do it for his own money.
20:51 He would do it for his own money.
20:54 He would do it for his own money.
20:57 He would do it for his own money.
21:00 He would do it for his own money.
21:03 He would do it for his own money.
21:06 He would do it for his own money.
21:09 I like Balakrishna.
21:12 I like Balakrishna.
21:15 The reason?
21:18 You can enjoy the film frame by frame.
21:21 You're a modern man.
21:24 We'd go to Kodaikanal and have tea.
21:27 We'd stay overnight at a friend's house...
21:30 and go out at 3.30 in the morning...
21:33 and have tea...
21:36 and then go to the beach...
21:39 and then go to the beach...
21:42 I don't know anything about tobacco.
21:45 I've had a lot of hatred for it.
21:48 Have you been to Kuna Koi?
21:51 No, I haven't.
21:54 Why should we go there?
21:57 They said it was open then.
22:00 Why should we go there?
22:03 You've made a few films in Tamil cinema.
22:06 In Tamil cinema, writers are not given much importance.
22:09 Do you agree with that?
22:12 Do you think it's important?
22:15 Which writers?
22:18 In the past, Balakrishna and Sujatha were in the film industry.
22:21 Now, the A-connors are taking over.
22:24 Writers are not given a separate category.
22:27 They think they're writing their own story.
22:30 Screenplay is writing.
22:33 Screenplay is writing.
22:36 When screenplay writing is comfortable for writers...
22:39 why should they hire screenwriters?
22:42 Why should they hire screenwriters?
22:45 Producers ask for salaries.
22:48 They say they'll give salaries to writers.
22:51 You get the money, you take the responsibility...
22:54 you pay him.
22:57 When screenwriters come, they don't know who's writing what.
23:00 If A-connor writes a story, he can do it in Telugu...
23:03 or Hindi or Bhojpuri...
23:06 or any language.
23:09 When a writer comes, there are many problems.
23:12 You don't know what to do.
23:15 You have to convert what the writer writes into a language.
23:18 When they write it in their own form, it's okay.
23:25 Do they write the dialogues in Malayalam?
23:28 How do you translate it?
23:31 Once I go, I'm told the story.
23:34 I go only when I'm talking.
23:37 There was a director called Binu Chettan.
23:40 I record it on my phone.
23:43 He types it in Malayalam...
23:46 and then he translates it into Tenglish.
23:49 The Malayalam portion.
23:52 He tells me what to do in the content.
23:55 He tells me the story in content.
23:58 I write the placement and scene in paper.
24:01 I have to create it.
24:04 I have to create the choreography and placement.
24:07 What's your favorite scene in the film?
24:10 The one you saw as a highlight.
24:13 I liked the film overall.
24:16 If a scene was emotionally driving...
24:19 it was the scene where he comes up.
24:22 That's the scene.
24:25 There's a small emotion in that.
24:28 I think it didn't come out well.
24:31 He asks his brother for his belt.
24:34 He was really stuck in that belt.
24:37 That's the belt.
24:40 That's the best scene.
24:43 When he's rising up...
24:46 How was the response to your film?
24:49 We saw some scenes in dubbing.
24:52 I had to go to Ramachandran to shoot the crowd.
24:55 The assistants were there.
24:58 We shot the crowd.
25:01 I saw the film here with my family.
25:04 How was the response to the film?
25:07 Everyone was crying and scolding the police.
25:10 It was really bad.
25:13 They interacted with the screen.
25:16 It was really bad.
25:19 The first 10 minutes were really intense.
25:22 The kids were coming...
25:25 There's a place for children in this village.
25:28 They were all immersed in the film.
25:31 The film was a huge success.
25:34 Do you get offers from other places?
25:37 What's your next project?
25:40 We keep going back and forth.
25:43 Some things happen and some don't.
25:46 We keep burning.
25:49 Thank you for burning more stones.
25:52 Thank you for becoming a star soon.