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00:01You take a small note.
00:03How big a note you want to write,
00:05you do it correctly.
00:07I want to make a film with a single event.
00:09I was inspired by such films since I was a kid.
00:13This is the result of that.
00:17A film without music.
00:18Even in the sound effects,
00:19they sell us well.
00:21A film without music,
00:23will be watched by our fans.
00:25Such a thing was coming from outside.
00:29I have never heard of a film without music.
00:32I am very happy till now.
00:34We have made it big in that way.
00:39The fight in the autorickshaw,
00:41is like a continuous single shot.
00:44For this film,
00:46we had to rehearse for 6 and a half months.
00:49That day alone,
00:51we didn't see the crowd.
00:53Many times,
00:55we had to calm down.
00:59I thought,
01:01I should go to the world,
01:03and see what is happening here.
01:05I don't care about my profession.
01:07I don't have any problem.
01:09Why?
01:12Metaphor.
01:13I will take a shot and show it to you.
01:16I don't want to see any stupidity in it.
01:19Tell it in a way that he understands.
01:21Such a debate is coming up.
01:23I don't want to underestimate anyone.
01:26I didn't do it knowingly.
01:28I don't think it is wrong to think about it.
01:35Even a successful film needs a company.
01:38Kottu Kali is a success in that way.
01:42Greetings to everyone in the country,
01:44state and home.
01:46I am Karthik.
01:48Today's guest is,
01:50Kuzhangal and Kottu Kali.
01:52PS Vinothraju is the one
01:54who started both these films.
01:56We have come to meet him.
01:58Let's meet him.
02:00Greetings.
02:02In Tamil cinema,
02:04there is a division between
02:06art film and commercial film.
02:08This division started because,
02:10in the past,
02:12Balu Mahendra sir and K. Balachandra sir
02:14had similar films.
02:16Their films were slightly different
02:18from the art film.
02:20How did you come to know
02:22that these are art films
02:24and these are commercial films?
02:26Can you tell us about that?
02:28Commercial films are...
02:30I don't know.
02:32For me, art films are like a film.
02:34That's all.
02:36That's my pure opinion.
02:38I don't have a second opinion.
02:40It's like a film.
02:42People come to see a film
02:44and say that it's a commercial film.
02:46You can say that about such films.
02:48It's not like that for me.
02:50You can say that a successful film
02:52is a commercial film.
02:54At that time, Kottu Kali was a success.
02:56Now, Kottu Kali is a commercial film.
02:58Everyone is reacting in a funny way.
03:00All the actors are reacting in a funny way.
03:04Like that,
03:06there is a situation
03:08or an occasion
03:10for everyone to come to cinema.
03:12Some people say that
03:14they want to make money
03:16by coming to cinema.
03:18Some say that
03:20they want to make money
03:22by coming to cinema.
03:24Some say that
03:26they want to show their life.
03:28They want to show
03:30that they've seen a lot.
03:32They want to speak about politics.
03:34So, there are a lot of people
03:36who come to cinema to speak about it.
03:38What was the reason for you to come to cinema?
03:40What was the reason for you to come to cinema?
03:42I don't have a reason.
03:44I didn't know that
03:46I would make films like this.
03:48All the films that I've seen
03:50and worked on
03:52are from the Tamil cinema industry.
03:54are from the Tamil cinema industry.
03:56All the films that I've seen
03:58or read
04:00or met
04:02have a lot of power
04:04for a whistleblower.
04:06There are a lot of things
04:08that I can talk about.
04:10I'm trying to do that.
04:12I'm trying to do that.
04:14I don't think
04:16that I'm inventing something new.
04:18This is happening all over the world.
04:20It's happening in Tamil cinema.
04:22I've taken a step in that.
04:24I've taken this stand.
04:26I've taken this stand.
04:28I've taken this stand.
04:30I don't think that
04:32that's the reason
04:34why I came to cinema.
04:36I don't think that that's the reason
04:38why I came to cinema.
04:40I would like to make a film based on that
04:45This is how I wanted to make a film
04:47This is the knowledge I got after coming here
04:52Your films, especially the ones I mentioned earlier, use metaphors
04:59In your film, Koolangalai, every landscape has a metaphor
05:05Even when your father hits your son in the shot,
05:10you will go back to that shot
05:12Even then, the mountain looks like a small mountain
05:15So, you used metaphors in your films
05:18Did you read the script and implement them?
05:22Or did you look at the films and implement them?
05:25Because many people don't know how to use metaphors in writing
05:27They think that the story should be run by humans
05:31How did you come up with the idea of using metaphors and landscapes?
05:35I don't know how to use metaphors
05:37For me, the landscape is important
05:40After that, the characters
05:43So, I take some images and follow them
05:49For example, in Koolangalai,
05:53when her father hits her son,
05:56she will go back to the shot and look at the mountain
06:04I get the image of a son hitting his father
06:10I don't have to think about it
06:14But the shot has to hold
06:17I work in this way
06:19I don't think I need to use metaphors
06:23When I go into a life and write a script
06:27and implement the things in it
06:30I don't know if it is a metaphor or a different layer
06:33But it is the landscape there
06:35I capture that landscape
06:37That's all I do
06:39In your films, the duration of the shot
06:44Even in Kottu Kala, the audience is talking about it
06:48If you use a shot in that, it will be stable
06:52Some directors would have said
06:55We don't do everything at once
06:57We do it slowly and it happens slowly
07:00So, you wait and see
07:02That starts in the last frame of Koolangalai
07:06When the water is filled
07:08They pour water in small jugs
07:14It takes a long time to fill the jug
07:19So, you don't finish it quickly
07:22You wait and see
07:24We felt like this
07:26We take a lot of effort to fill the jug
07:29To show it to the audience
07:31You don't have to frame it
07:33You just have to take a shot in one frame
07:36And everyone will watch it
07:39There are some scenes in Kottu Kala
07:43You show the chair shot in the first frame
07:47They start the chair shot in the next frame
07:53There is a silence after that
07:56There is silence after that
07:58There are some sounds of nature
08:01How did you feel about this?
08:04You felt it, right?
08:06After I shot that shot
08:08I felt the sound of nature
08:12That's it
08:15I shot it to feel that
08:18To show how it was before the humans came
08:24That's why I shot it after they left
08:27There was a big commotion
08:31The silence in the land
08:36It was like abusing that silence
08:40That's the scene
08:43We abuse that land
08:46You are watching this from a noisy place
08:52But there is a calmness after they left
08:55You said it well
08:57I want to say it calmly
08:59That calmness is what I want to say
09:03It's not because we want to make a shot
09:07It's very simple
09:09You understood it, right?
09:11You accepted it and said it
09:13That's it
09:15It's a metaphor
09:17I want to show you a shot
09:19I don't want to see any wisdom
09:21I don't want to see any wisdom
09:24I don't want to see you gain anything
09:28It will be there for a while
09:30You will get rid of it
09:34I want to discuss it with you
09:37Only then a process will happen
09:39In Kottukali, the chariot is an important part
09:43You mention another thing in the chariot
09:47You mention some minute things
09:49Let's take it this way
09:51In the chariot, there are three gods
09:55There will be three eyes
09:57There will be two eyes below the chariot
10:01There will be one eye above the other
10:05Did you mean it voluntarily?
10:08Yes
10:10Or did you want to mention the human being inside?
10:14To show the women
10:16No, no
10:18Don't think so much
10:20There, there is an auto
10:22It is running
10:24I am bringing an auto from that village
10:26There are small things
10:28In the chariot where Meena is sitting
10:32There is a dolphin on this side
10:36I did all this voluntarily
10:38We will do all this
10:40We will do it without destroying the reality
10:44What happens in this film is
10:47When I see what he is going to say
10:50I pity him
10:52But the truth is
10:54You are saying that you understood
10:56You are conveying it to me
10:58I wanted to do only this
11:00I didn't want to show anything
11:02Some characters have eye symptoms
11:06I have heard that Selvaraghavan and Dhanush
11:08had eye symptoms
11:10There are many characters in this film
11:12Annabella and Surya
11:16In the chariot frame
11:18There is a mother and Annabella
11:22They have eye symptoms
11:24They are looking straight forward
11:28They are looking straight forward
11:30Why should they do this?
11:32Are they tired?
11:34Or are they tired?
11:36At least show it in their eyes
11:38Are they sad? Are they in tears?
11:40Are they in a bad mood?
11:42What is the reason for this?
11:44It is good
11:46We can say what we would have done
11:50In this film
11:52Let it be Annabella or Surya
11:56Mostly we decided not to show eye symptoms
11:58The character Pandi
12:00At the end
12:02It goes through a thought process
12:04That's when it becomes an eye symptom
12:06All this time
12:08I was thinking about something
12:10It gets cut
12:12It creates confusion
12:14If you are focused, you won't show eye symptoms
12:16If you are focused, you won't show eye symptoms
12:18If the focus is lost, it becomes an eye symptom
12:20Psychologically
12:22The end of the character
12:24It goes through a thought process
12:26All this time I was thinking about something
12:28It gets confused
12:30I told Annabella twice
12:32Annabella was an eye symptom
12:34There's another frame
12:36They go to the temple
12:38Surya sees Annabella
12:40Surya sees Annabella
12:42He suddenly sees Annabella
12:44He closes his eyes
12:46Is this a voluntary thing?
12:48Or did it happen by chance?
12:50It happened by chance
12:52The auto process
12:54The fight in the movie
12:56The fight in the movie
12:58It's like a continuous single shot
13:00How did this process take place?
13:02Did it take a lot of time?
13:04It was a full rehearsal
13:06It took us six and a half months
13:08We were rehearsing together
13:10That place
13:12That place
13:14We didn't see the crowd
13:16We went to that place many times
13:18To calm down
13:20To reduce the crowd
13:22The people there used to say
13:24They'll keep shouting
13:26They'll keep shouting
13:28Once we started shooting
13:30They let us go
13:32They'll come and shout
13:34It was very helpful
13:36It became a practice
13:38They're already doing it
13:40They're already doing it
13:42They're already doing it
13:44For six months
13:46We used to go to that place often
13:48We rehearsed
13:50The shot composing that was uneven
13:52We had to work very hard for that
13:56We had to sketch everything
13:58The camera's operation
14:00We had to sketch
14:02That much rehearsing
14:04Especially the audience
14:06They had to understand the depth of the scene
14:08They had to understand the depth of the scene
14:10To understand the depth of the scene
14:12We had to say
14:14We had to say
14:16It's all about practice and rehearsal.
14:20That's why it's so original.
14:22The original violence here is not action.
14:25That scene is not action.
14:26It's a lot of violence.
14:28The violence in the original is rare.
14:35It's very customary.
14:37I believe we would have done it right.
14:39The point of view that you are showing
14:41can be shown in the point of view of the actor.
14:43It can be shown in the point of view of you and me.
14:48But your frames go beyond that.
14:50You can see what they are doing from a distance.
14:53You can see what they are doing from there.
14:55There are a lot of things like this.
14:56It starts from Kulangal and ends in Kottukali.
14:58When you are riding a bike on a road in Charotta,
15:03at one point,
15:05when we first saw it,
15:07we couldn't connect.
15:08A person is riding a bike here.
15:09A person is riding a bike here.
15:10A person is riding a bike in Charotta.
15:11They are standing in one place.
15:13But you show it from a distance.
15:14You show a shot from a hill.
15:16You show a shot of a person carrying a cow.
15:20You show a shot of a person riding a bike.
15:22When you show it in the point of view of another person,
15:24you show what they are doing and where they are.
15:26How did you come up with this?
15:28You want to show it in the point of view of another person.
15:31I wanted to witness it.
15:33I wanted a witness photograph to be there in the film.
15:36It's a very internal problem.
15:38In this film, the width of Kulangal will be less.
15:41The reason for that is the internal problem in the human world.
15:44It's a very sensitive issue.
15:47I wanted to show it to the people of the human world.
15:50I didn't forget to witness it.
15:53I wanted to portray the fact that these incidents are happening
15:57amidst so many people.
16:00That's why I shot such shots.
16:02We can talk about that a lot.
16:05We can talk about the shot divisions.
16:07We can talk about the psychological work involved.
16:10The film is going on, right?
16:12We can talk about that later.
16:14Two shots have to be discussed.
16:18There's a shot of a person carrying a cow on a bike.
16:23If you cut that shot,
16:25a child is holding a cow.
16:27Everyone would be scared.
16:29A small child comes running to hold the cow.
16:31When she comes running,
16:33you would have shot her from behind.
16:35What do you think about this process?
16:45I'm very happy.
16:47I wanted to do a film like this.
16:49That's what I thought.
16:51There could be a lot of criticism.
16:55The audience and I could get a lot of criticism.
16:58Some of that could go out.
17:01We could let that go.
17:03Let me give you a point.
17:05The distinction between the person carrying the cow
17:08and the girl's face was there.
17:10We can find a lot of things like this in this film.
17:15I have to look at all this.
17:17If you don't tell me what I understand,
17:19I'll get very angry.
17:21I did it because I wanted you to understand.
17:23I don't know how to understand this.
17:27I keep saying this over and over again.
17:29Tell me what I understand.
17:32Tell me what he understands.
17:34There's a debate going on.
17:36I don't want to underestimate anyone.
17:40He doesn't know.
17:42Let him be. He doesn't know.
17:44I did it because I wanted to know.
17:46Not just you.
17:48I did it because I wanted to know.
17:50I don't know if it's wrong to think about it.
17:52I don't know if it's wrong to participate in it.
17:56I don't know if it's wrong to praise the film.
18:04I don't even know about it.
18:06I don't have a problem with it.
18:08I'm sad if this doesn't happen.
18:10We watch a film to feel the pressure.
18:16We watch it to feel the joy.
18:18I'm like this.
18:20You have a problem.
18:22You have to process it.
18:24You have to process it.
18:26That's what I think.
18:28I went to Thirupur to study.
18:34I didn't do anything.
18:36I just observed and processed.
18:38I observed what was happening around me.
18:40That's what I want to give.
18:42When you participate,
18:44when you discuss what's going on in society,
18:48a big thought process opens up.
18:50We make the right choices.
18:52We make the right choices.
18:54We make big changes in our lives.
18:56I'm an example of that.
18:58I want to give this to others.
19:00What's positive about Koolangal and Kottukallai is that...
19:06If I had an audience of 20 people in the mainstream,
19:10Kottukallai's audience has changed to 40-45 people.
19:14That ratio is decreasing.
19:18I'm very successful in this way.
19:20What are they saying to other people?
19:22What's their problem?
19:24I can't say anything to them.
19:26I want this debate to take place.
19:28I've made such a conscious decision.
19:30I want this debate to take place.
19:32It's the people.
19:34I made it really conscious,
19:36that this is what we have to face.
19:38We've respected them.
19:40That's not for them.
19:42When it gets conveyed,
19:44it is definitely Kottukallai.
19:46The remaining 50% will go to the left.
19:48You should continue to make more films.
19:52Vettrimalanda mentioned that P.S. Vinatharajan is an important actor in India.
19:58He doesn't look down on anyone.
20:02He said that because he knows that you have a style and a route.
20:08You should continue to make films in your style.
20:12Thank you very much.
20:16If we get another chance to interview you, let's do it.
20:22Definitely.