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00:00How did you decide that your first film should be based on this story?
00:05I love humans as humans.
00:09You are doing a film called Pariyerum Perumal.
00:11It is a political drama about social justice.
00:13You are also doing a film called Kalugathi Modukku.
00:16Now you are doing Pariyerum Perumal.
00:18How did it start?
00:24After Pariyerum Perumal, I did a lot of political films.
00:27I did a lot of stories.
00:29It is a political film.
00:31It is not about money.
00:33It is a promising film.
00:35It is not about money.
00:37It is not about money.
00:42This film is about life.
00:44How did you decide to do this film?
00:46How did you decide to do this film?
00:48I was working as a labourer in Tiruvannamalai for 3-6 months.
00:53I was working as a labourer in Tiruvannamalai for 3-6 months.
01:07This film is all about the truth.
01:10I have kept this film based on the truth.
01:12I have kept this film based on the truth.
01:15A story that is not only in Tamil Nadu.
01:19This story is based on the politics of the elite people all over the world.
01:28What we can see in the trailer is the painting of Yuvan Shankar Raja.
01:32In some of our films, the elite Raja is the main character.
01:38In Tirunelveli, there are a lot of fans of him.
01:42But in Tirunelveli, without his song, there is no Kaathu Koothu, Kalyana Veedu or Manjadhaniyam.
01:49In particular, the elite Raja is the main character.
01:54We didn't make him like that.
01:59Greetings to all of you from all over the world.
02:03Today, we have Parari with us.
02:07She knows a lot of things.
02:09How are you?
02:11I'm fine. How about you?
02:13I'll start with the creator.
02:17You've given the title Parari.
02:20I can see a lot of things in the title.
02:22I think you're telling a lot of things in detail.
02:25What is the meaning of the title?
02:27Why did you choose this name for the film?
02:29The title of the story is about a woman.
02:33I'm talking about two poor people in North India.
02:38They work as labourers here.
02:42They go to Bangalore for three months.
02:47That's why I chose the title Parari.
02:50As everyone knows, you're the AD of Rajapurugan sir.
02:55Everyone knows what kind of a maker he is.
02:58He is a person who takes care of politics and social justice.
03:03You're his AD.
03:05This is your first film.
03:07What do you want to say to the audience?
03:09In the first film, everyone will have their own opinion.
03:13They will say, this is how my story will be.
03:16You decided what your first film should be.
03:19How did you decide that this should be your first film?
03:21You love humans as humans.
03:24You made it simple.
03:26You love humans as humans.
03:28You made all the videos half-way.
03:31When you were an AD, you would have written a lot of stories.
03:35You decided that this should be your first story.
03:38How did you start this story?
03:41I didn't write a lot of stories.
03:44I worked as a joker for him.
03:46I wrote Parari's story when Gypsy left.
03:49I finished Parari's story in 15 days.
03:51I told him, this is very good.
03:53This should be your first film.
03:55I'll make it myself.
03:57That's how I started.
03:59I would like to say hello to the film's director, Sridhar sir.
04:06I have a question.
04:10I don't know if you know about the films you make.
04:14Pariyarum Perumal, Kaluvathi Mukund.
04:20You have made other films too.
04:22I don't know if you choose the base.
04:25You are making a film called Pariyarum Perumal.
04:27It's a social drama about social justice.
04:29You are also making a film called Kaluvathi Mukund.
04:32Now you are making Parari.
04:34How did you start?
04:36I have made 20-25 films in my life.
04:41I have made 2-3 films.
04:43When I made my first film, I didn't know anyone.
04:48I would wait.
04:51I had to know the name of the film.
04:54I didn't know if I knew it or not.
04:57When you make a film, you have to know the name of the film.
05:03Every human being has a responsibility.
05:07We have to make films that are responsible for the society.
05:09We can make films that are commercial or jolly.
05:14But as a human being, we have a responsibility.
05:16There are many stories like that.
05:22I make films that are impressive.
05:25I have made more than 100 stories after Pariyarum Perumal.
05:30I don't want to make a political film.
05:33I want to make a film that is more promising than Pariyarum Perumal.
05:38But that didn't happen.
05:40When I read the script for Parari, it felt haunting.
05:45I should never miss this film in my life.
05:49I am proud of the fact that I made this film.
05:54I am proud of the fact that this film exists.
05:59I am coming to you as an actor.
06:02Usually, when we make a commercial film, we say we can do it.
06:09But the stories we make are about life.
06:12When you make a character, you have to know the base of the character.
06:17Did you ask the director about this?
06:20Of course.
06:22We can't do anything without understanding the director's vision.
06:29No matter what the character is.
06:32He is very clear.
06:35If the script is receivable, it will be very useful for the actor.
06:42It was very useful for me.
06:45What challenges did you face?
06:47We speak in slang in the city.
06:52We eat in the city.
06:57We walk in the city.
07:00We have different habits.
07:03We have to go to Tiruvannamalai according to the village.
07:09We have to study the inputs.
07:13We have to get used to the slang language.
07:18We have to go to the village and eat in the hotel.
07:22We have to go out and shop.
07:25We have to go to the temple and talk to the people.
07:28We have to pay attention to the places where the words are used.
07:34It took me a lot of time.
07:37We have to understand the dialogues in the film.
07:45We have to understand their body language.
07:48We have to learn a lot.
07:51A person who cuts a palm tree will cut in a certain style.
07:54The body language of the person walking will come in a certain style.
07:58We have to learn a lot and implement a lot.
08:03I think I have done a good job.
08:06I haven't done it completely.
08:09I have to take a lot of inputs.
08:14My brother was very useful to me.
08:17Sridhar brother was also very useful to me.
08:24It was easy.
08:26I didn't have to get confused.
08:31It was easy for me.
08:33Most of the people in the village were artists.
08:38I was the only one who came from Chennai.
08:42It was easy.
08:44It was new.
08:48How did they bring you into the story?
08:52You have done some films with Santhanam sir in Tamil.
08:58This film is about life.
09:01How did they choose you?
09:03What challenges did you face?
09:05When I was studying in college,
09:08I was studying in Viscom.
09:11He was my college senior.
09:14I was his junior.
09:16When I was studying in our college,
09:18When you were all going for internships,
09:20When we didn't know where to go,
09:22We decided to try acting.
09:25Rajamurugan sir's assistant was doing a film.
09:28When we asked him if he wanted to audition,
09:31He liked it.
09:33He said it wasn't like a regular film.
09:36It was a completely art film.
09:38There was no luxury in a regular film.
09:41There was no expectation of acting in a regular film.
09:46The acting was completely different.
09:49We were in a learning mood.
09:52I like art films more than commercial films.
09:55I don't like commercial films.
09:57But I like art films.
09:59It's more than two songs or two dialogues.
10:02It's a completely art film.
10:04It's a film that changes a person's life.
10:07It's a blessing.
10:09A person's life is set through us.
10:12They change a little.
10:14They learn a little.
10:16It's a blessing.
10:19When we wanted to make a film like that,
10:22They took me from Chennai to Tiruvannamalai.
10:25It was almost six months.
10:27Even if we had a 45-day life cycle,
10:29Our life would change.
10:31It was almost three to six months.
10:34I was a girl working in a pigsty in Tiruvannamalai.
10:38I had to wake up at 6 a.m. to start my day.
10:42I went to the pigsty at 7 a.m.
10:45They would cut the pig.
10:47We had to tie it up.
10:49Our hands were rough.
10:51Our hands were soft.
10:53It was rough.
10:55We came home tired.
10:57We rehearsed for 10 to 3 in the evening.
11:00We rehearsed and acted.
11:02Except for the two of us,
11:04They were all theatre artists.
11:06They knew how to act without a camera.
11:09They would tell us the dialogue.
11:11We didn't have an action knife.
11:13We didn't know when to start and when to finish.
11:16I got used to it.
11:20We would carry on until the next action.
11:24But they were like that.
11:26They would do whatever we asked them to do.
11:28If we cried suddenly, they would cry.
11:30If we didn't say action, they wouldn't cry.
11:32We kept changing.
11:34Little by little, we got used to it.
11:36Devaki needed all this.
11:38It was a small budget film.
11:41We had big locations.
11:43They were all live locations.
11:45The problem with live locations
11:47was that we didn't have the right timing.
11:49When we worked in a farm or a mango juice factory,
11:53they would give us a time.
11:55You would have seen a scene in the trailer.
11:57My friend would go and tell Maran.
12:00We were going to the mango farm.
12:02That was the first section.
12:04They would filter the rotten mangoes.
12:07I don't like tamarind, insects, insects.
12:11Once they got me used to it.
12:13I was taking the mangoes out.
12:15The mangoes were full of tamarind.
12:17I took them out and told them the dialogue.
12:19I didn't look at the mangoes.
12:21I just saw the tamarind.
12:23I was like, that's enough.
12:25They told me to wipe it off and move on.
12:27I was like, how did you change it?
12:29I was like, what is this?
12:31They trained me in everything.
12:33Before Sangeetha Paradi,
12:35after Paradi.
12:37Many characters have changed in my personal life.
12:40I have another question for you.
12:42You do a lot of serials.
12:44We have seen you in Telugu serials.
12:46We believe that there is a difference
12:48between doing it in a serial
12:50and doing it in a movie.
12:52What challenges did you face here?
12:54You are working with Sridhar sir in a movie.
12:56What improvements did he give you?
12:58Basically, all artists are like water.
13:00No matter which container you put them in,
13:02they will change to the shape of the container.
13:04In a film, we have to prepare accordingly.
13:06There is time for that.
13:08If they want to do 2 or 3 scenes per day,
13:10we have already prepared for those 3 scenes.
13:12For this film,
13:14we have already read the bound.
13:16So, not only my dialogues,
13:18I know the opposite person's dialogues very well.
13:20We have already prepared
13:22to the extent that I wake up in my sleep.
13:24We have already rehearsed it.
13:26So, when we do it without a prompt,
13:28it will also be comfortable.
13:30In serials, there is a prompt.
13:32They have a compulsion
13:34to do 12 or 7 scenes per day.
13:36So, we can do it there.
13:38So, this work is different and that work is different.
13:40Artists always have the ability
13:42to accept and change.
13:44Only if they have that ability,
13:46they can become an artist.
13:48If we want to change from a character to another,
13:50they have those qualifications.
13:52So, if I am doing a film,
13:54I adapt to that and do it.
13:56If I am doing a serial,
13:58I adapt to that and do it.
14:00You have another thing.
14:02In serials, you have a mid-frame
14:04or a close-up.
14:06In cinema,
14:08some of the characters behind you work.
14:10I mean, all the artists in the background work.
14:12So, when you work together,
14:14what do you do?
14:16In short division,
14:18for the cinematographer,
14:20generally,
14:22my job is to act.
14:24What is behind me and what is in front of me,
14:26the direction department
14:28and the cinematographer take care of.
14:30So, wherever there is a close-up,
14:32I act.
14:34They tell me what reactions to give at what time.
14:36So, from this dialogue to this dialogue,
14:38I do a close-up and I do a performance.
14:40So, there is no big difference.
14:42So, when you rehearse,
14:44you have to act on a frame level?
14:46Yes.
14:48If I have to speak from here to there,
14:50I have to speak from the dialogue that I started.
14:52You have to speak from the dialogue that you started.
14:54You have to speak from the dialogue that you started.
14:56Yes.
14:58From the start,
15:00till the end of the film,
15:02even if we get a chance,
15:04we sit in the field,
15:06when we go back,
15:08we get into the dirt,
15:10we get into the auto.
15:12It was fun like that.
15:14At first, the starting was a little difficult.
15:16What is this?
15:18My body is aching, I am tired.
15:20Then, the set and gang formed.
15:22I have 3 friends,
15:24almost 12 people.
15:26It was like a college meet,
15:28like a school meet.
15:30It started going well.
15:32Who is aching?
15:34Leave it, let's go and eat.
15:36We don't have money,
15:38let's go and eat for 50 rupees.
15:40It's big, it's good.
15:42They are all theatre actors.
15:44Just because there is a small thing,
15:46they will be very happy.
15:48They taught us that happiness.
15:50So, it was a lot of fun.
15:52Devaki and her characters,
15:54we were really Devaki.
15:56Maran and Devaki, it was like that.
15:58All the characters were Sumathi.
16:00It was fun.
16:02Sumathi is my friend.
16:04Her name is Gowri.
16:06I forgot her name.
16:08I don't even know her name.
16:10I don't know who she is.
16:12I don't know their names.
16:14I still don't know the rest.
16:16When the film is over,
16:18I will tag Sumathi on Instagram.
16:20I will search for her and tag her.
16:22That's how it started.
16:26Sir, one more thing.
16:28Not with you.
16:30A thing is happening in Tamil cinema.
16:32In Tamil cinema,
16:34they are separating hot and commercial films.
16:36How do you see this?
16:38Everyone is saying,
16:40this film has this much audience.
16:42In commercial cinema,
16:44this much audience will come.
16:46How do you see this?
16:48How do you see it?
16:50I can't see it like that.
16:52It's all happening in theaters.
16:54Everyone is saying,
16:56this story is like this.
16:58How does the trailer look?
17:00This is hot flame.
17:02This is commercial cinema.
17:04How do you see it?
17:06What is the difference between the two?
17:08I don't see it like that.
17:10I only see the cinema.
17:12This is commercial cinema.
17:14I don't see it like that.
17:16Even in commercial cinema,
17:18they will say something good
17:20for the society.
17:22I only see it like that.
17:24I don't see it like,
17:26this is hot flame,
17:28or this is commercial.
17:30I don't see it like that.
17:32All the films are in theaters.
17:34If it's a commercial film,
17:36they use a different screen.
17:38That's how I see it.
17:40One more thing.
17:42As I said,
17:44I'll start with you.
17:46In the beginning of the story,
17:48some people speak Kannada.
17:50In the beginning,
17:52we thought,
17:54this is happening in Karnataka.
17:56Because the flag you used
17:58was related to some things.
18:00This is a political issue.
18:02When I saw the flag,
18:04I understood what you were saying.
18:06We heard that this is happening
18:08in the base of Karnataka.
18:10How do you feel about that?
18:12It's happening.
18:14Every year,
18:16there's a problem.
18:18It's happening.
18:20This film is a true story.
18:22I took this story based on
18:24a true incident.
18:26So,
18:28you can't just
18:30relate this story to Tamil.
18:32This story is based on
18:34the politics of the entire world.
18:36This story is based on
18:38the politics of the entire world.
18:40For everything,
18:44for everything,
18:46for events,
18:50nature will bring
18:52justice through humans.
18:54That's what this flag does.
18:58Nature will bring justice
19:00through humans.
19:02It's against everything.
19:04It's against everything.
19:06This flag is a token of love.
19:08Was it your idea or the producer's?
19:16It was his idea. He was the first producer.
19:22He liked the story a lot.
19:25The company had agreed to it for 2-3 months.
19:30He liked the story a lot, so he was the first producer.
19:37During the pandemic, there were some problems.
19:42He called Hari and told him to finish the film and he would take over.
19:52All the films you make are mostly outdoors.
19:55All the films you've made are in a village.
19:59What do you do for the lighting and location?
20:08We shoot all the films in the landscape.
20:12But we want to give a different color palette.
20:15If the people of that village see it, it should look like my village.
20:21That's the first thing I note.
20:25Authenticity is very important.
20:27When you go to a different landscape,
20:29The costumes they wear,
20:31For a Chudithar nighty in Chennai,
20:34A village girl who works as a labourer in Tiruvannamalai,
20:38Her mother would wear a 100 rupee Surat saree.
20:41That's very particular.
20:43Rather than going to a village and being natural,
20:48To be realistic,
20:50It's very particular about the costumes.
20:52We have to use the costumes from that village and that nativity.
20:56We collect all the costumes from the houses.
20:59We all go to a Godown and wear the costumes.
21:03We buy the costumes and select costumes for 50 people.
21:07Some are torn, some are faded.
21:09We can't create those things.
21:11First, the costumes are very particular.
21:13Second, the makeup.
21:14The makeup is very dedicated.
21:16That's why they did it in the sun.
21:18Secondly, the lighting.
21:20We know what kind of lighting we're going to use for the film.
21:23It's a landscape.
21:25At the same time, we have a story to tell.
21:27At the same time,
21:29If you ask me about art films,
21:32This is not at all an art film.
21:34It's a commercial film.
21:35Even when we come to the theatre, it's a commercial film.
21:37There are 5 songs in the film.
21:38There are 4 fights.
21:39But nothing is forced in the song fight.
21:43Apart from the story,
21:45There is nothing called art.
21:47There is art in the film.
21:49We are all artists.
21:51We are here to make a commercial film.
21:53We need to make money in this film.
21:55This film has all the commercial comedy in it.
21:58It has everything.
22:00But for me,
22:02Whether we make a film for Tamil Nadu,
22:04New face actors,
22:05Or India,
22:06I want to showcase this film to the international audience.
22:09We made this film with that mindset.
22:11We sent it to the international festival.
22:17If you ask me whether Killers of Flower Moon is a commercial film or an art film,
22:20It made lots of money.
22:29Sir, you have brought Sandroldram for this film.
22:32Sandroldram,
22:34In many things,
22:36I don't know if this time is like his era.
22:40There is a song called Theen Chudarai.
22:43Then there is Aasa Oruvai.
22:45It's a trending song.
22:47He has also done a film called Samba.
22:49Yes, Samba.
22:51How did you bring him?
22:53Can you tell us about that?
22:55Shan is a friend of mine for 7 years.
22:58He is very close to me since Joker.
23:01We talk a lot.
23:03He told me the story.
23:05Before I got the producer,
23:07He gave me the songs.
23:09He told me to get the producer with the songs.
23:12So, we planned Omadevi and Sandroldram.
23:14We wrote the songs right away.
23:16I told 2-3 people,
23:18I showed them the song and told them about the story.
23:21That's how it happened.
23:23Shan is very close to me.
23:25He was a pioneer in making this film.
23:29So, you started it during Joker's time.
23:31That friendship is a sincere one.
23:34It's a sincere friendship.
23:36The people who made us sing in Joker
23:38are not proper cinema singers.
23:40They are people who sing in theatres.
23:43People who sing in funerals.
23:45They are the ones who should do something new.
23:48It worked out well in Joker.
23:51The song in that film was amazing.
23:53But we have sung in this film as well.
23:55We wanted to make people sing in this film as well.
23:58Both of us were clear about that.
24:00We said that no song should have a reference.
24:04We used to talk a lot about politics.
24:07He used to sit and read what he felt at that time.
24:10I used to say okay.
24:12Another thing is,
24:14in the frame,
24:16you have a painting of Yuvan Shankar Raja.
24:19In some of our films,
24:22Ilayaraja is the main character.
24:25People in that village would be fans of Ilayaraja.
24:29But in this village,
24:31in that specific area,
24:33you are saying that you are fans of Ilayaraja.
24:36How is this possible?
24:38Is it true that he is a fan of Ilayaraja?
24:41Or is it that you are a fan of Ilayaraja?
24:44It's not like that.
24:46In that village,
24:48if you go to all the villages,
24:50you will see that Ilayaraja has a lot of fans.
24:53But in that village,
24:55without his song,
24:57you won't find a wedding hall or a wedding hall.
25:01In particular,
25:03everyone wants to have Ilayaraja.
25:05We don't have it like that.
25:07We have it because it is in that area.
25:12I have taken 5 movies.
25:145 movies are your guru's,
25:16Rajamurugan sir's movies.
25:18In this movie,
25:20it's a very basic thing.
25:22From 1 to 5,
25:24it's like a blind ranking.
25:26I will tell you 5 movies.
25:29The first priority is,
25:31which movie should be at the top.
25:33The rest can be 1, 2, 3, 4, 5.
25:35You can take a movie.
25:37You can discuss and tell me.
25:39Or you can take a movie.
25:41Will you tell me which movie?
25:43Yes.
25:47The first movie is,
25:49Gypsy.
25:50From 1 to 5,
25:51which box will you put it in?
25:53From 1 to...
25:545.
25:55Which box will you put it in?
25:58Like that.
25:59Gypsy.
26:00Which box will you put it in?
26:02From 1 to 5.
26:033rd place.
26:06Japan.
26:09Last place.
26:13Joker.
26:14First.
26:17Cuckoo.
26:18Cuckoo is second.
26:20But I want to say something about Cuckoo.
26:24Because...
26:27Mahendran sir,
26:28the great jambavan of Indian cinema,
26:32he made a movie called
26:34Tharuradha Kaigil with a superstar.
26:37He made that movie.
26:38Revathi.
26:39They will be blind in that movie.
26:41But that movie didn't run.
26:43In Indian cinema,
26:45the first movie that went out of the box,
26:49was Ekunarumiyam.
26:51Bharathiraja.
26:53The hero was blind in that movie.
26:55It didn't run.
26:56Then,
26:57Kamal Haasan sir,
26:58who brought a world class technique in Indian cinema,
27:03Rajaparvai,
27:04his 100th movie,
27:05he made it blind.
27:06That movie didn't run.
27:08But,
27:09he made all the characters blind,
27:12and gave a hit to a movie.
27:14That's amazing.
27:16So,
27:17Cuckoo and Tharuradha Kaigil
27:19are equal.
27:20Yes,
27:21they are equal.
27:22It's a story that didn't give success to anyone.
27:26But,
27:27he made it win.
27:28That's it.
27:29But,
27:30we made Joker first.
27:34At that time,
27:35there were two great legends,
27:38the first ones of Tamil Nadu.
27:40But,
27:41they didn't compromise.
27:43They didn't compromise.
27:45What they said was,
27:47Don't pray to the sky to unite.
27:50Don't look at the sky and pray.
27:53That's what they said.
27:55And,
27:56that has always been a joke to me.
27:58And,
27:59lastly,
28:00you said everything.
28:02In modern love,
28:03Lovagunda Bommigal.
28:05I think that's the fourth one.
28:08Actually,
28:09it's not in the movie.
28:11It's a series.
28:13It's an anthology.
28:14But,
28:15in his career,
28:16all these movies are in his return and director's bed.
28:19Actually,
28:22I didn't think of it as a movie.
28:24Okay.
28:25I said Joker first.
28:28Okay.
28:29The second one was
28:31Cuckoo.
28:32The third one was Gypsy.
28:34The fourth one was
28:36Lalagunda.
28:37What?
28:38Lalagunda.
28:39I said Japan was the last one.
28:41It was the last one.
28:44Both of us,
28:46he and I,
28:47we want to bury our roots deep in the ground.
28:52When the roots are buried,
28:54and when it grows and blooms,
28:57we want the people who separate it
29:00to know what our roots are.
29:04Okay.
29:05Actually,
29:06we wanted to make movies like that.
29:08The next one was made with Sasikumar sir.
29:11That movie will be great.
29:13Okay.
29:14Sir,
29:15let me tell you about the frame.
29:17On one side,
29:18you show Dr. Ambedkar's photo
29:20and his coat.
29:21Yes.
29:22One person is seen as his own caste.
29:25You say it's a coat.
29:27Yes.
29:28If you cut that coat,
29:30you show three people in another frame.
29:32Yes.
29:33You know who those three people are.
29:35So,
29:36let me ask you this question.
29:38Are you a communist,
29:39Ambedkarist,
29:40or Periyarist?
29:43I don't know.
29:45This is...
29:46So far,
29:47some people have been arguing about this.
29:50Let me ask you this.
29:51Many people have asked me.
29:53Actually,
29:56many people have asked me the same question.
29:58Are you a communist,
30:00or are you an Ambedkarist,
30:03or are you a Periyarist?
30:05Even the gypsies would have asked you.
30:06Yes.
30:07But,
30:08these three people are fighting for the same thing.
30:11So,
30:12I am one of them.
30:13Correct.
30:14These three people,
30:15wherever they are oppressed,
30:17wherever there is injustice,
30:19these three voices will be the first ones
30:21to speak up.
30:23These three voices will be the voice of this protest.
30:27Yes.
30:28Now,
30:29when the audience wants to come to the film,
30:31what can they expect from the film?
30:34The audience...
30:35As I was saying,
30:38the audience should come to the film for two things.
30:41They should be happy.
30:42The song, the fight, the song.
30:44That is really there in the film.
30:46There is a lot of political dialogue in it.
30:49There is a song.
30:51As far as I know,
30:52even the song is not like a dance.
30:56The song is very new.
30:57We have taken a montage of the film
30:59that matches the lines.
31:02But,
31:03we wanted to give something new.
31:05Then,
31:08when they watch the film,
31:12they will ask a question
31:14for 20 or 25 minutes.
31:17The answer to that question is,
31:19if they are half human,
31:23we will make them half human.
31:27Thank you very much for your time.
31:29The film will be released on 22nd November.
31:32This film will be discussed among the people.
31:35I would like to wish you all
31:37on behalf of One India
31:39and Flimmy Beats.
31:41Thank you very much.