#BottleRadha #PaRanjith #DhinakaranSivalingam #Dhinakaran #GuruSomasundharam #PariElavazhagan #DirectorsCut #FilmibeatTamil
Also Read
சந்தானத்தை நம்பி கோடிகளைக் கொட்டும் ஆர்யா.. சூரிக்கு போட்டியாக களமிறங்குதா சந்தானம் அண்ட் கோ? :: https://tamil.filmibeat.com/news/actor-arya-produce-santhanam-dd-returns-part-2-news-goes-trending-in-kollywood-135823.html?ref=DMDesc
Jailer: “தலைவர் அவ்ளோ ஷார்ப்... அந்த சீன் தான் மாஸ்..” மனம் திறந்த ஜெயிலர் பிரபலம்!! :: https://tamil.filmibeat.com/news/jailer-actor-suganthan-shared-his-experience-of-acting-with-rajinikanth-in-jailer-113165.html?ref=DMDesc
விஜயகாந்த் உண்ணும்போது தட்டை பிடுங்கிய நபர்... அதன் பின் நடந்ததுதான் வரலாறு :: https://tamil.filmibeat.com/specials/the-person-who-snatched-the-plate-while-vijayakanth-was-eating-what-happened-after-that-is-history-100261.html?ref=DMDesc
~PR.268~CA.78~ED.65~HT.302~##~
Also Read
சந்தானத்தை நம்பி கோடிகளைக் கொட்டும் ஆர்யா.. சூரிக்கு போட்டியாக களமிறங்குதா சந்தானம் அண்ட் கோ? :: https://tamil.filmibeat.com/news/actor-arya-produce-santhanam-dd-returns-part-2-news-goes-trending-in-kollywood-135823.html?ref=DMDesc
Jailer: “தலைவர் அவ்ளோ ஷார்ப்... அந்த சீன் தான் மாஸ்..” மனம் திறந்த ஜெயிலர் பிரபலம்!! :: https://tamil.filmibeat.com/news/jailer-actor-suganthan-shared-his-experience-of-acting-with-rajinikanth-in-jailer-113165.html?ref=DMDesc
விஜயகாந்த் உண்ணும்போது தட்டை பிடுங்கிய நபர்... அதன் பின் நடந்ததுதான் வரலாறு :: https://tamil.filmibeat.com/specials/the-person-who-snatched-the-plate-while-vijayakanth-was-eating-what-happened-after-that-is-history-100261.html?ref=DMDesc
~PR.268~CA.78~ED.65~HT.302~##~
Category
🗞
NewsTranscript
00:00Why did you choose this film as your first film?
00:02This film may be a film about addiction and drinking.
00:07But for me, the way I see this film is...
00:11In Shawshank Redemption, that film is a prison escape film.
00:16The underlying factor of that film is hope.
00:20That film is about how an external prisoner fights back and gets his life back.
00:25Similarly, this film is about how Radha Mani,
00:28with her habits and behaviour,
00:31breaks the internal prison and gets her life back.
00:37The film should have two extreme edges.
00:45I wanted to convey that to the audience.
00:50The three of us, Fahad, Dinesh and Guru Somasundaram,
00:55arrived at the set.
00:58I was narrating the story.
01:00He started crying within 10-15 minutes.
01:02Actually, my story is very comical at first.
01:05After 5-10 minutes, he started crying again.
01:08I was waiting for him to settle down.
01:10I kept narrating the story and he started crying again.
01:13I asked him if he understood what I was saying.
01:18Many of our finest actors and musicians were addicted.
01:25Many of our close friends died.
01:27All of that was being recalled.
01:31In this film, we have another surprise.
01:33We can call him the second lead.
01:35He is the hero of our film, Jamaa.
01:37He is the hero of our film, Paari.
01:39Whereas, Paari...
01:41He kept on learning.
01:45He kept on learning, improving and enhancing himself.
01:50As an actor and in other aspects as well.
01:54That's why a film like Jamaa...
01:56He wrote, directed and performed well.
02:01There were many setbacks.
02:03From the shooting time to the dubbing time.
02:08There were many challenges.
02:10But every single stage...
02:13Ranjith's presence brought the film to the next level.
02:19Otherwise, maybe the film...
02:26Welcome to the Director's Cut.
02:28I am Ranjith Kannan.
02:30Our special guest for this week is...
02:32Arimugam Iyakunal.
02:34Iyakunal Dhinakaran is his name.
02:36Many people may not know him.
02:38Iyakunal Dhinakaran wrote the script for his film, Paarvai.
02:42We heard that many films were made after that.
02:46Neelam Productions...
02:48I'll finish it.
02:50Neelam Productions, Paranjith...
02:52I know the truth.
02:54Neelam Productions, Paranjith's film...
02:56Arimugam Iyakunal Dhinakaran...
02:58His film, Bottle Radha...
03:00Many films were made.
03:02It's ready for release.
03:04Guru Somasundaram...
03:06Actor Paari...
03:08Many people know him.
03:10Charles Rodan wrote the music for this film.
03:12We're going to ask him about this film.
03:14Hello.
03:16How are you?
03:18I'm good.
03:20You've become a jerk in the opening.
03:22I'm not saying this to embarrass you.
03:24I've spoken to many people.
03:26Paari is a good friend.
03:28Jai and I...
03:30Before he went to college...
03:32To join Fine Arts...
03:34I went for coaching for six months.
03:36Since then, I've been his friend.
03:40Michael has been a good friend for 10 years.
03:48Like Suresh.
03:50Suresh was the co-director when I joined as the last assistant in Kabali.
03:54We stayed in the same room.
03:56Ranjith taught me a lot.
03:58Immediately after that, Suresh taught me a lot.
04:04I was the co-director when he did his film.
04:08I don't have a big ego with them.
04:12No matter how harsh we talk...
04:14I don't feel bad about it.
04:18No matter how bad it is, I can deal with Jai.
04:22He also comments a lot.
04:26He talks about how bad it is.
04:30That mutual space comes from friendship.
04:34It's not difficult to build a friendship bond.
04:38Let it be that way.
04:40We're all close friends.
04:42But what I said is true.
04:44Yes.
04:46We can talk about many things in this interview.
04:50Can I know where you were born and how you came to cinema?
04:56My mother was born in Saidapet.
04:58It's only half a kilometer from here.
05:04My father was born in a village called Agaramduli near Uthirumiyur.
05:08I studied in my hometown in 10th grade.
05:12I studied in Agaramduli school in 8th grade.
05:16I studied in a village called Endathur.
05:20I studied there for five kilometers.
05:22Then I went to Aavadi in Kamarajanagar school.
05:26I completed my 12th grade.
05:28I failed my 12th grade.
05:30I wanted to do fine arts in economics.
05:36I got interested.
05:38Only when I joined the coaching class for fine arts...
05:42...Ranjith, Jai, Raja...
05:46...the art director of my film...
05:48...Ramalingam in college...
05:50...Kabali, Kala's art director...
05:52...Ramalingam...
05:54...we all met.
05:58After finishing fine arts, I wasn't interested in filmmaking.
06:02I was interested in animation.
06:04I started as an animator in a studio in Chennai.
06:08I was in Chennai for two years.
06:10I was in Bombay for three years.
06:14Even after that, I wasn't interested in filmmaking.
06:18We came to Chottabim in 2010-2011.
06:22I and my friend Damu...
06:24...wanted to do an animated series.
06:28That's how we prepared.
06:30Chottabim came.
06:32Mottupathilu was under production.
06:34At that time...
06:36...Disney, Warner Brothers...
06:38...Discovery Kids...
06:40...and many other production houses...
06:42...were pitching scripts for our series.
06:48It came close to Warner Brothers...
06:50...but it didn't work for many reasons.
06:54We started doing short films to convince them.
06:58We wanted to show their directorial ability.
07:02We couldn't show the cost and time...
07:06...of an animated episode.
07:08We didn't have the budget, time or manpower.
07:12Short films were easy.
07:14We could write a story...
07:16...and tell it.
07:18We did it to prove it to the investors in the animation industry.
07:24Naturally, I got interested in working live.
07:30When I worked as an animator...
07:34...all my projects were outsourced.
07:38They were either American or Australian series.
07:42We worked on their lives.
07:46We had our own life.
07:48We had our own language.
07:50We couldn't see the significance of it.
07:54I felt this medium was the right medium...
07:58...to tell our stories, our land, our music...
08:02...and our people's lives.
08:06I got a chance to work with Ranjith in Kabali.
08:10The first film was Kabali.
08:12I assisted in Kabali.
08:14Then I worked with Kala.
08:16After Kala, I wanted to work independently.
08:20While I was writing Kabali...
08:22...Suresh asked me to work on J-Baby.
08:26I worked on J-Baby with him.
08:30While working on J-Baby...
08:32...I was writing this story.
08:34Bottle Radha script.
08:36This is my second script.
08:38While I was working on his film...
08:40...Ranjith introduced me to Arun Balaji.
08:44We worked together on Neelam Production and Balloon Pictures...
08:48...and started Bottle Radha.
08:50That's how Bottle Radha started.
08:52That's how Bottle Radha started.
08:54You're learning from Ranjith...
08:56...and you've seen many films.
08:58Why did you choose this story for your first film?
09:02Until we saw the teaser...
09:04...we were wondering how drunkards...
09:06...get released in the addict center.
09:08That's the concept we had in mind.
09:10Why did you choose this story?
09:12What was the reason?
09:22This film may be about addiction and drinking...
09:26...but for me...
09:28...the way I see this film...
09:30...in Shawshank Redemption...
09:32...there's a film by Frank Darabont...
09:34...it's a prison escape film.
09:36It's a prison escape film.
09:38Outwardly, it's a prison escape film.
09:40But it's not just about prison escape.
09:42Inherently...
09:44...the underlying factor of the film...
09:48...is hope.
09:50How tough...
09:52...in an impossible situation...
09:56...how hopeful...
09:58...how essential...
10:00...that's what the film is about.
10:02It's about the need for a human being...
10:04...to have grit.
10:06That's how I see it.
10:10It's about a person fighting back...
10:12...an external prison...
10:14...and getting his life back.
10:16Similarly, this film is about...
10:18...a man named Radha Mani...
10:20...with his habits and behavior...
10:22...constructing an internal prison...
10:26...breaking it down...
10:28...and getting his life back.
10:30It's not just about addiction...
10:32...it's a medium...
10:34...a medium used for storytelling.
10:36Anyone in any field of endeavor...
10:38...can watch this...
10:40...and regain hope and inspiration...
10:42...through this film.
10:50This film is about hope.
10:52About life, about hope...
10:54...about joyfulness.
10:56It's a film about that.
11:00Have you seen Radha's character before?
11:02Is she similar to the Mandir you saw?
11:04The starting point...
11:06...when I was talking to my friends...
11:08...in Avadi...
11:10...my friend Vadivelu...
11:12...was a temple priest...
11:14...near Avadi...
11:16...and there...
11:18...a bricklayer...
11:20...who was drunk...
11:22...was taken to rehab...
11:24...and after three days...
11:26...he was able to escape...
11:28...from there...
11:30...and after 15 days...
11:32...he was completely drunk...
11:34...and died.
11:36I heard about him...
11:38...they were laughing...
11:40...his name was Pattu...
11:42...I went looking for him...
11:44...he had died a long time ago...
11:46...I couldn't trace...
11:48...where he was.
11:50I tried for 3-4 days...
11:52...and what I did was...
11:54...to talk about the life of the deceased...
11:56...his life...
11:58...I took that as a speck...
12:00...and constructed a story...
12:02...from that.
12:06I met hundreds of people...
12:08...who recovered from addiction...
12:10...I went to rehabs...
12:12...many rehabs...
12:14...didn't allow me...
12:16...they didn't allow me personally...
12:18...some rehabs allowed me...
12:20...but their names weren't allowed...
12:22...they strictly told me not to come...
12:24...some rehabs...
12:26...didn't bother about that...
12:28...across Tamil Nadu...
12:30...Kerala...
12:32...Karnataka...
12:34...I went to all these places...
12:36...to recover from addiction...
12:38...and rehabs...
12:40...I observed them personally...
12:42...and wrote this story...
12:44...that's how I did this work.
12:46...that's how I did this work.
12:50Rehab is also a part...
12:52...a beautiful and joyful family...
12:54...the loss of that family...
12:56...how they recovered from it...
12:58...that's what this film is about.
13:00...that's what this film is about.
13:02...that's what this film is about.
13:06You've met many managers...
13:08...you've done research for this...
13:10...what's the reason they're saying?
13:12...the reason they're saying?
13:14...the reason they're saying?
13:20Everyone has a reason...
13:22...but a common factor...
13:24...that I've understood...
13:26...a Canadian psychologist...
13:28...Gabar Meite...
13:30...he's a...
13:32...addiction related specialist...
13:34...almost 20 plus years...
13:36...he's a specialist...
13:38...we meet many individuals here...
13:40...we talk to them...
13:42...my father got drunk...
13:44...and in 2006...
13:46...after an accident...
13:48...he stopped drinking.
13:52...he still has that backlash...
13:54...he still has that backlash...
13:56...he still has that backlash...
13:58...my family is surrounded by relatives...
14:00...they're very close...
14:02...I didn't need to work...
14:04...I didn't need to work...
14:06...my uncle, aunt, relatives...
14:08...my uncle, aunt, relatives...
14:10They will go to Tharai.
14:12If they leave Tharai at 11, they will go there easily.
14:15If they are in the city, they will go to the wine shop.
14:19If they are in Kanchipuram or Pattasai, they will go there to drink.
14:22Drinking a lot like that.
14:24The images I saw when I was a kid,
14:26Drinking a lot,
14:28Drinking a lot and getting drunk.
14:30To get rid of the addiction,
14:32the mothers-in-law,
14:34the mothers-in-law,
14:36the images that everyone has on their heads,
14:38are recurring in my mind.
14:40So,
14:42here in the rehabs,
14:44the recovered addicts,
14:46the people who are seeing them,
14:48in the addiction,
14:50her husband,
14:52her brother,
14:54the people who have woken up,
14:56through talking to them,
14:58I have understood where this tendency starts.
15:00I have understood where this tendency starts.
15:02Again,
15:04from the thesis of Gebhard Meit,
15:06what he says is,
15:08a human being
15:10is struggling to face himself.
15:12He is not able to live with his own self.
15:14He is struggling to live with himself.
15:16So,
15:18he wanted to escape from his own self.
15:20He is using a substance
15:22as a tool to escape.
15:24It could be alcohol,
15:26or
15:28any form of substance.
15:30He is using a substance
15:32as a drug,
15:34and he is escaping momentarily.
15:36After the drain-out,
15:38he is unable to face reality again.
15:40He is unable to face the world.
15:42He is going back into it.
15:44This keeps happening constantly.
15:46He is stuck in the cycle of addiction.
15:48It becomes a way of life,
15:50and he is unable to escape.
15:52He is going into a place.
15:54It's a very pathetic thing.
15:56So,
15:58I think I've addressed
16:00how and what is
16:02counter-attacking
16:04in the film to a certain extent.
16:10It's a miracle.
16:12Everyone has their own thoughts.
16:14How will their family be affected?
16:16Yes.
16:18It's a very painful thing.
16:20Actually,
16:22I learned this while traveling.
16:24Addiction...
16:26Addicts
16:28regularly go to a forum
16:30called Alcoholic Anonymous.
16:32Across the globe.
16:34It started in the early 19th century.
16:36Bob and Bill
16:38started it in the US.
16:40It's a fellowship.
16:42In India,
16:44in small villages,
16:46it's happening everywhere.
16:48Every single day,
16:50at 7 o'clock in the evening,
16:52an Alcoholic Anonymous meeting
16:54is being held.
16:56It's happening all over the world.
16:58At 7 o'clock in the evening,
17:00someone comes back from work.
17:02Before going home,
17:04they go to a wine shop or a bar.
17:06When the desire starts,
17:08they'll go for a meeting.
17:10In that meeting,
17:12there are 40-50 people
17:14who have recovered from addiction.
17:1610 people will share
17:18their own challenges.
17:20How they overcame
17:22their addiction.
17:24What challenges they faced
17:26when they were addicted.
17:28How their family suffered.
17:30They'll accept that they're addicted.
17:32When you're addicted,
17:34you can't drink a certain amount.
17:36If you're addicted once,
17:38you're addicted for a lifetime.
17:40They say that
17:42they can postpone drinking
17:44on a daily basis.
17:46They say that
17:48they can postpone drinking
17:50on a daily basis.
17:52They can't say that
17:54they're 100% recovered.
17:56That's how it is.
17:58After seeing that fellowship,
18:00I understood a lot.
18:02I included it in the film.
18:08Generally,
18:10Alcoholic Anonymous members
18:12should maintain anonymity.
18:14They shouldn't reveal who they are.
18:16I don't drink.
18:18I'm a supporter of AA.
18:20I think it's my duty
18:22to say that
18:24there's a forum like this.
18:26It'll be helpful
18:28for many lives.
18:30There's no social status.
18:32There's no language.
18:34There's no discrimination
18:36or status in the forum.
18:38You're an IIT professor.
18:40The people who start
18:42and work there
18:44sit in the forum
18:46and discuss their
18:48struggles and
18:50how they overcame them.
18:56The characters you see
18:58should be played by actors.
19:00You imagine
19:02how the actors are created.
19:04Guru Somasundaram plays Radha.
19:06I know him.
19:08He's the finest actor in South India.
19:10He can play any character.
19:12How does he create the character?
19:14Or does he do it on his own?
19:16What did I do?
19:18It took me three months.
19:20When I wrote the story,
19:22my first choice was to
19:24suggest a couple of comedians.
19:26Comedy characters.
19:28Can I know who they are?
19:30No.
19:32They're very busy.
19:34They only do it in big films.
19:36Their salary is low.
19:38We couldn't even reach them.
19:40When Ranjith read the script,
19:42he said that
19:44only the finest performers
19:46could pull it off.
19:48He wanted to do comedy.
19:50I wanted to do comedians
19:52because the first half
19:54would be hilarious.
19:56The second half
19:58would be emotional
20:00and would make the audience
20:02tearful.
20:04First, the comedians
20:06had to pull it off.
20:08They had to be edgy.
20:10They had to be funny.
20:12I wanted to convey that
20:14to the audience.
20:16Ranjith said that
20:18only people like them
20:20could pull it off.
20:22He said that
20:24only people like Fahadh, Dinesh and Guru Somasundaram
20:26could pull it off.
20:28Only those three
20:30could pull it off.
20:32Fahadh, Fasil, Dinesh...
20:34Fahadh, Fasil, Dinesh...
20:36Fahadh, Fasil, Dinesh and Guru...
20:38Fahadh was busy for two years.
20:40Dinesh was hectic
20:42in the project Rubber Bandhu Plus.
20:44I couldn't do anything about him.
20:46When I worked with Soman,
20:48it was very interesting.
20:50When I tell a good story,
20:52people think it's bad.
20:54It's difficult to narrate the story.
20:56It's difficult to narrate the story.
20:58It's difficult to narrate the story.
21:00It's difficult to narrate the story.
21:02It's difficult to narrate the story.
21:04I usually give written scripts, bound plots.
21:08While I was narrating the story,
21:10he started crying.
21:12My story was very comedic at first.
21:14So, I tried to express the feeling
21:16I was crying for him.
21:20I kept crying for 10 minutes.
21:22I kept crying for him.
21:24I tried to tambourine my story,
21:26but he started crying again.
21:28I thought I could do the story
21:30after narrating the story
21:32He asked me to tell him what happened in the second half.
21:36I told him about the second half and he got emotional.
21:40I don't know if you understood the story.
21:44Of course, there are a lot of emotional moments.
21:48But I wanted to present the film in a comical and hilarious way.
21:52I asked him if he understood me crying.
21:56I asked him if he understood me crying.
22:00He told me about his theatre experiences.
22:04He told me about the finest actors and musicians who went into addiction.
22:10He told me about his close friends who died.
22:14He told me about one person.
22:18I think he went to Sydney for a theatre play in Australia.
22:24I don't know if he was an actor or a musician.
22:28He missed his flight from Mumbai to Sydney.
22:32He was the one who picked him up and sent him back.
22:36When the show was going on in Sydney, he started drinking a lot.
22:44He drank all the money that came his way.
22:48The bed in the hotel was soft and cushioned.
22:52He drank a lot and went back to sleep.
22:56He choked on his vomit.
23:00The softness of the bed choked him.
23:04He died there.
23:08He was the one who picked him up and sent him back.
23:12He was the one who picked him up and sent him back.
23:16He was the one who picked him up and sent him back.
23:20When I was thinking about how to survive beyond the edge...
23:26I didn't think about other people.
23:30I didn't want to connect with a person who was so personal.
23:36I didn't want to bother about how materialistic it would be.
23:44Of course, there are challenges in selling the film.
23:48But as a film, as a better film, as a finest work...
23:54He contributed beautifully.
24:00I think this moment was a very fortunate moment for him.
24:08He took our story so far and tried to represent it.
24:14It's our luck to get such an artist.
24:18He played that role perfectly.
24:22When we shoot, it's the first time we're making a film.
24:26We study a lot and criticize a lot of films.
24:30But we can only learn by working.
24:34Just because we work with Kabali and Kala...
24:40We have to start from the same place.
24:44That's practice. It takes time.
24:48It's not in my understanding.
24:52I think we can only grow from my practice.
24:56I had a lot of limitations.
25:00Some scenes were frustrating.
25:04I had to think about how many more shots I had to take.
25:08He carried the nuances of the performance beautifully.
25:14He executed the scene beautifully in minimal shots.
25:20Otherwise, I would have had to cut a few more shots and elaborate.
25:30The climax of the film...
25:34I had to think about how many more shots I had to take.
25:38I had to shoot in the evening mood.
25:42I had to work with that time.
25:46I was worried that I shouldn't miss it.
25:50I had to shoot in the evening mood.
25:54It was carried beautifully in his performance.
25:58We took minimal shots beautifully.
26:02I think that's the best question I can ask a director.
26:08Did he watch the film?
26:12No, I haven't seen the comic yet.
26:16I requested him to watch it with everyone in the theater.
26:20They have worked a lot for us.
26:24They say he's on fire.
26:28I asked him to watch it with everyone in the theater.
26:32I asked him to watch it with everyone in the theater.
26:36He said he's on fire.
26:40I said I had to watch it with everyone in the theater.
26:44They came to watch it.
26:48If they weren't there at the time, it's okay.
26:52They were there when he said no.
26:56It's our responsibility to honor them.
27:02They'll receive it beautifully when they see it with an audience.
27:08Definitely.
27:12Another surprise for us in this film is the hero of the second lead, Pari.
27:16He's the hero of the second lead, Pari.
27:20Pari's film was released.
27:24The audience is celebrating the film.
27:28He's the director and he's the actor.
27:32It's only now that we know that he's played a key role in the film.
27:36How did he play a key role?
27:40I did Pari in my second short film in 2013.
27:44I was studying at Mayankopiyan's school.
27:50When I asked him, some people suggested Pari.
27:56I said Pari would be good.
28:00That's how my friendship with Pari continued.
28:10Pari's quality is...
28:14A lot of actors think that acting is about trying without expanding.
28:30Trying is looking for opportunities.
28:34It's not about skill or knowledge.
28:40Pari kept on learning constantly.
28:46He kept on improving and enhancing himself.
28:50As an actor, as well as in other aspects.
28:54That's why I was able to write, direct, and perform a film like Jemma.
29:02I think I was struck by Pari in 2015-16.
29:10A lady used to do a talk show.
29:16She used to make fun of people.
29:20In which channel?
29:24She used to make fun of me.
29:28Pari played a character in one of her films.
29:34I think she acted and assisted in the film she directed.
29:40She wrote a monologue for a character.
29:46She did that.
29:50I really liked that.
29:54She put a dialogue in a situation and presented it in a fun way.
30:04After my short film, he directed a short film.
30:12I liked his constant interest and learning attitude.
30:18For this story, there's a character called Sheikh Babu.
30:24I confirmed with Bottle Radha that he was going to do it.
30:30I did Pari five months before.
30:34He was a little chubby.
30:38He was drinking 24 hours a day.
30:42Even if he ate, he had to vomit.
30:46He couldn't drink if there was food in his stomach.
30:50If he didn't drink, his hands would shake.
30:54Only if he drank, his hands would shake.
30:58Only if someone held a glass and gave it to him, he would drink.
31:04His physique was very...
31:08He was skinny with a beard and a moustache.
31:12I confirmed it five months before.
31:16I observed him at the wine shop.
31:20Food was very sincere.
31:24He didn't eat rice for five or six months.
31:28I didn't know about the diet.
31:32He didn't eat anything.
31:36He carried his body.
31:40Even if we shoot for 44-45 days, we take a break.
31:46That was for four or five months.
31:50He maintained that for ten months.
31:54When I was shooting the film,
31:58Most of the actors spoke in their own dialects.
32:04Only one or two of them spoke in their own dialects.
32:08Pari spoke in her own dialect.
32:12It was relevant and justified the story.
32:16He was a highly capable individual.
32:22When you look at his getup, you can't guess who he is.
32:26There are many differences when you look at Jamal.
32:30It's beautiful.
32:34You can't contrast Jamal and Pari.
32:38That's what's created.
32:40Your co-producer, Ranjith...
32:44Before I talk about Ranjith...
32:48Balloon Pictures' Arun Balaji...
32:52I gave him a two-minute idea.
32:56His family was aware of his addiction and rehabilitation.
33:02So, they agreed to do it.
33:06They had already done Panniyarampath Miniyum, Villambu and Balloon.
33:12That's what Balloon Pictures did.
33:16They and Neelam Productions invested equally and executed the film.
33:22I want to thank Arun Balaji's father, Nandakumar sir.
33:30He's been supporting the film for a long time.
33:38He's a producer.
33:42Then there's Ranjith.
33:46Ranjith is the producer of this film.
33:50He's my director. He's a close friend.
33:56I think that's the biggest honor.
34:02I don't think there's a bigger word for it than respect and honor.
34:10What did Ranjith say when he saw the story?
34:16When I said I'd write a story like this...
34:22I was trying to write the first script...
34:28I'm a forgetful person.
34:32When I come out of the house, I have four numbers in mind.
34:36Phone, wallet, kerchief...
34:40Train ticket, flight ticket...
34:44My story is 150 pages long.
34:48If I start somewhere, I'll leave it halfway.
34:52If a lot of people hear it, they'll say it's not good.
34:56But the readers will say it's good.
35:04When I said I'd write a story like this...
35:08I was already frustrated.
35:12It's a dark subject.
35:16How do I write this story?
35:20It's going to be painful.
35:24It's going to be shared.
35:28When I was writing this story, I was instinctive.
35:32We see a lot of addiction-related films.
35:36I want the audience to be entertained.
35:42I want to make a film that they can revisit.
35:48That's my intention.
35:52Let's revisit Madras again and again.
35:56Let's revisit Sarpetta, Aadukalam...
36:00Let's revisit Mahendran's Mullumalarum...
36:04Let's revisit Muthal Mariyavai...
36:08Let's revisit Munram Primary Works again and again.
36:12Let's revisit it again and again.
36:16As we grow, the film tells us a lot.
36:20I wanted to make a film with that sensibility.
36:24Even though it's a pain and suffering film...
36:28I wanted to present it as comically and hilariously as possible.
36:34That's why I designed a lot of characters and incorporated them in writing.
36:40After I read it, Ranjith liked it a lot.
36:44He said, let's do it ourselves.
36:48So, naturally, the two of us started and carried it forward.
36:56Apart from that, there were a lot of setbacks.
37:00From shooting to dubbing...
37:04There were a lot of challenges.
37:08Ranjith's presence brought the film to the next level.
37:14Maybe the film...
37:18We had taken some decisions while shooting.
37:22I was confident as a director.
37:26I was able to make that call because of Ranjith's presence.
37:32There was a good response at the Dharamshala festival.
37:36We screened at the Dharamshala International Film Festival in Himachal Pradesh.
37:42The audience there was very exceptional.
37:46They were receiving you?
37:48Yes. Ranjith and I went.
37:50We did it at a festival in Delhi.
37:54It's all because of Ranjith's presence.
37:58The value of that presence.
38:02I was able to take some strong decisions based on that.
38:06Contributing the film for the better.
38:10When you started this film, you would have seen a lot of alcoholics.
38:14Can you describe the types of alcoholics?
38:18It's a way to talk about them comically.
38:24I want to share something that someone shared about this.
38:30There's a man who's a recovering addict.
38:36I can't say he's recovered.
38:38He's recovering.
38:40They're postponing the tendency of drinking on a daily basis.
38:44They say they haven't had a drink for a day.
38:46They've been recovering from addiction for 15-20 years.
38:50A mother was meeting him.
38:54Her husband was drinking a lot.
38:58One time a week, he was drinking a lot.
39:06Drinking once a week isn't an addiction.
39:12He was drinking at home.
39:14He was asked to make snacks for him.
39:18He was sleeping happily.
39:20The next day, he was going to work.
39:22What's your problem?
39:24He told me about his life.
39:28His weekly salary in Coimbatore was half of his land.
39:36That's what they say in the 80s.
39:38But he didn't go home for a month.
39:44There were embroidery machines at the time.
39:48That's how much money you could make.
39:50He was drinking a lot.
39:52Every day, 20-30 people would gather at his bar.
39:56They would drink and share their money.
40:00So, everyone who drinks isn't an addict.
40:04What he said was,
40:06if you're sleeping at the end of the day,
40:10you're sleeping while you're drunk.
40:12The first thing is to start the day with a drink.
40:20That behavior.
40:22Not having a drink every single day.
40:28Getting along with the drinkers.
40:30An individual who gives up all his responsibilities for this is an addict.
40:38They're social drinkers.
40:40But you can't be an addict.
40:42But if 100 people drink,
40:4815-20% of them become addicts.
40:52You can't avoid it.
40:54No one can tell you who those 15-20% are.
40:58Out of the three of us,
41:00100% of us become addicts.
41:04Out of the three of us,
41:0630% of us become addicts.
41:08Out of the five of us,
41:10100% of us become addicts.
41:12How do you see this?
41:14Is it normalised?
41:16Drinking?
41:18Yes.
41:20There's a party at a wedding.
41:22It seems to be normalised everywhere.
41:24What do you think?
41:26I don't know if it's like that.
41:30I don't see it that way.
41:32I don't see it that way.
41:34In my environment,
41:36it's not that easy to normalise.
41:38Even in my friends' circle,
41:40drinking is not that casual.
41:42It's not like,
41:44let's have vada.
41:46It's like,
41:48I have to drink.
41:50It's like,
41:52they're doing it with awareness.
41:54I don't know if I can comment on that.
41:56I don't know if I can comment on that.
41:58I don't know if I can comment on that.
42:00I don't know if I can comment on that.
42:02No matter how you start,
42:04addiction theory is one thing.
42:06If 100 people drink,
42:0815-20% of them become addicts.
42:10If 100 people drink,
42:1215-20% of them become addicts.
42:14In the same way,
42:1615-20% recover.
42:18If 100 people become addicts,
42:20only 15-20 people can recover from addiction
42:22and re-establish their lives.
42:24and re-establish their lives.
42:26If 80% of them become addicts,
42:28either their life will end up in jail,
42:30or their family will separate
42:32and start a new life.
42:34or their family will separate
42:36and start a new life.
42:38Even if that happens,
42:40even if that happens,
42:42their toxic behavior
42:44will change with the recovery.
42:46will change with the recovery.
42:48They will become children who grew up with trauma.
42:50Even if they recover,
42:52due to the challenges and trauma
42:54due to the challenges and trauma
42:56it's difficult for their family members
42:58to return to normal life.
43:00to return to normal life.
43:02to return to normal life.
43:04They will go into severe mental health issues.
43:06They will go into severe mental health issues.
43:08He may recover in six months or a year.
43:10He may recover in six months or a year.
43:12But they aren't like that.
43:14They don't have any substance
43:16They don't have any substance
43:18that will keep them on their toes
43:20that will keep them on their toes
43:22and will face the consequences.
43:24and will face the consequences.
43:28Facing it is extremely challenging.
43:30Facing it is extremely challenging.
43:32It is better to stay away from this...
43:34It is better to stay away from this...
43:36habit.
43:38Because when the five of us are drinking,
43:40we don't really know
43:42if we will get drunk,
43:44or we will get drunk.
43:46We've spoken to many people. I'd like to talk to one person in particular.
43:51Sean Roldan. His songs have hit the charts.
43:56Especially his recent song Uma Devi.
44:01Tell us about his work.
44:06I like his first film Mundasupatti.
44:11I like his work with jazz music.
44:16I listen to Miles Davis and Herbie Hancock's work.
44:21His music composition and choice of instruments were in that sensibility.
44:26My first choice was Sean.
44:31I wanted that sensibility for this film.
44:36I wanted that color and musical soundscape.
44:46That's how I wanted to present it.
44:51I wanted to downsize and make it realistic.
44:56We already have an image of drinking.
45:01People who come from the class would have seen a party with lights and alcohol in a glass.
45:11But what I saw was people drinking, fighting, throwing food from the stove.
45:21I hope that's how it is in Tamil Nadu.
45:26An 80s or 90s kid would have an image of drinking around his family.
45:36That's not a pleasant or beautiful image.
45:41But when it comes to film, we shouldn't present it in a disgusting way.
45:48I wanted to cherish that beautiful sound and image.
45:58That was my intention.
46:03From music to cinematography...
46:08We said we wanted to revisit, right?
46:13I wanted to see the audience.
46:18I wanted to see the nuances, the core idea...
46:23I wanted to see what I wanted to share as a creator.
46:28I didn't want to make a film to please that world.
46:38That's not my intention.
46:42I just wanted to reach a wide audience.
46:47I wanted to do it with my sensibility.
46:52We've talked about a lot of things. Can we do a segment?
46:57We have some photos here.
47:02You've seen a lot of actors in Tamil cinema. What do you think of them?
47:07You can select three people from the list.
47:12You can take a photo of three people and share your thoughts on them.
47:17Raghuman sir...
47:20Who?
47:22Raghuman sir.
47:25The only thing I think about him is...
47:30When he won an Oscar, he spoke in Tamil.
47:35It was beautiful.
47:40I had the opportunity to choose between love and hate.
47:45I chose love, so I'm here.
47:50It's a very significant phrase.
47:55I don't think it will create any value for oneself as well as for others.
48:02He lived up to what he said.
48:07That's beautiful.
48:10I also like Herbie Hancock. He's an African-American jazz musician.
48:15He's a very important jazz musician.
48:20There's a small thing I like about him.
48:25He talks about Herbie Hancock, Hancock wishes him.
48:30I've read a bit about Hancock.
48:35Okay, next.
48:40Vikram sir...
48:45Vikram sir...
48:50I think I read about Sethu when I was in class 2.
48:55I don't know if it was class 1 or 2.
49:00In Thirumalaiyal, posters are printed in grand colors.
49:07Sethu is printed on a small piece of paper.
49:12It's very bare.
49:17There's not even an image of Sethu.
49:22Posters are simply plain.
49:27There's only information and text.
49:32I went to Poonamalli with my friends and saw the film.
49:37Everyone was amazed.
49:42It wasn't a time for us to grow up.
49:47It was the first time I saw a masterful Tamil film in a theatre.
49:57Thalapathy, Mullumalarum, Muthal Mariyathai...
50:02I think it was before I was born.
50:07I can't forget the experience of Sethu in a theatre.
50:12I can't forget his transformation.
50:17He would have done it cheerfully in college.
50:22He carried the pain and anguish of mental challenges.
50:27It would have been outstanding.
50:32Bala sir's film, Commanding...
50:37He was a hero.
50:42Of course, money would have come from him.
50:47But he made people follow him.
50:52He set a trend.
50:57He made actors work.
51:02Vikram sir and Bala sir...
51:15You were talking about Muthal Mariyathai.
51:20For my personal work, I went to Delhi when I was 18.
51:27I got a chance to go to Delhi.
51:32When I was waiting in the lobby, I saw Bharadwaj sir alone.
51:37He was going to see the location of Kanyakumari.
51:42There was no one. I sat next to him for 45 minutes.
51:47I was Ranjith's associate.
51:52I had a lot of respect for him.
51:57He asked me to sit and talk.
52:02I respect him a lot as a filmmaker.
52:07I respect him a lot as a filmmaker.
52:12We can say that it was before him and after him.
52:17He changed the thinking pattern of film directors.
52:22There were films in the studio.
52:27Some people's lives were translated into cinema.
52:32He presented the lives of poor people with his original faces.
52:42I've always liked Muthal Mariyathai.
52:47It's an exceptional film.
52:52There are many of his films.
52:57What was your favorite reason for liking him?
53:02There are many reasons.
53:07He's very powerful outside.
53:12His father is a rich man.
53:17It's amazing how he captured that image.
53:22He's a man inside a man.
53:27You can't disrespect him more than this.
53:32The way he eats with his cold hands...
53:37The way he scolds...
53:42It's a great documentation of Tamil language.
53:47His music...
53:52His love for Radhakumaran...
53:57Love is infinite.
54:02Some people like him during school, some during college...
54:07We get married and have a partner...
54:12That's it.
54:17We lead a social life.
54:22But that doesn't mean that a man or a woman doesn't have a crush on a man.
54:27A man has a crush on a woman until his last breath.
54:32A woman has a crush on a man.
54:37It goes beyond family and marriage.
54:42The film spoke very beautifully and subtly.
54:47When I spoke to him at the airport about making a film about him...
54:52He said something very beautiful.
54:57He said that filmmaking is all about enjoyment.
55:02Whether we enjoy the work of a great master or not...
55:07That's how high our work will be.
55:12He said it very simply.
55:17Before that, I had an understanding about it.
55:22But after that, I went back to the works of masters I admired...
55:27It was a space for me to observe that.
55:32His presence is very important for Tamil cinema.
55:37And for Tamil people's Tamil life.
55:42You've shared a lot of beautiful things.
55:45When do we expect the release of Badal Radha?
55:48We're planning on January 24th.
55:51It will be released in Tamil Nadu, Kerala, Karnataka, Andhra...
55:56Would you have worked hard for two years for that?
56:01Yes, I would have.
56:06Congratulations on your successful 10 years.
56:11Thank you for coming.