Priya, once Mani Ratnam's assistant, is ready with her first feature film Kanda Naal Mudhal starring Prasanna, Laila and Karthik.
Other than assisting Mani Ratnam on Alai Paayuthe, Yuva and Aayutha Ezhuthu, she wrote the script for Revathy's first feature film Mitr, My Friend.
On the eve of her film's release, Priya tells Contributing Editor Shobha Warrier more
Movie making is an unlikely profession for a middleclass woman from a family not connected to the industry
While in school and college, I had been interested in theatre, and was acting and directing plays. In college, I had a chance to meet Suhasini, who was making a television serial called Pen, through a common friend. I had always been enamoured by the kind of films Mani Ratnam made, and when I saw (the actress-director and Mani Ratnam's wife) Suhasini, a woman making different kinds of films, I too wanted to be there. I could see her portraying the kind of sensibility and reality I could identify with. That was how it started.
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Did your time at the Institute help you?
Tremendously.
As I didn't know anything about filmmaking, it helped a lot. I just knew I wanted to be there. I didn't even know how to watch films. My exposure was very limited. The institute helped me learn the technicalities of cinema. For experience, though, you have to work and be a part of the industry.
How did you get your first break?
I began working from my second year onwards, with special permission, of course. Suhasini had started her film Indira and she called immediately. Because she was an old student, I was allowed to assist her.
Don't you feel you were very lucky to have known a person like Suhasini? You didn't have to struggle like many others.
Definitely. I am very lucky. But once you enter the industry, you still have to struggle. If I wasn't smart enough, they would have thrown me out.
When did you approach Mani Ratnam?
I didn't approach him because I was scared. Then, Suhasini asked me to meet him after Indira. He had seen me work hard on the sets, and agreed to take me on. I worked with him on Iruvar and Dil Se. If you are interested, he will involve you from the scripting stage itself.
Why did you decide to branch out to television?
I wanted to do something on my own, something creative. Television was the medium that was available.
Though you worked only for a few films under Mani Ratnam, you are still described as his assistant.
It's like my address! I am proud of it. It may take 2, 3 films from me for others to start calling me 'Priya'.
Tell us about Revathy's first directorial venture, Mitr, My Friend.
I was still doing a mega serial when Suhasini asked me to co-direct a serial for Madras Talkies as they had ventured into the production of TV serials. That was Anbulla Snehithiye. After that, I thought, no more television serials, I will get into films. But nothing materialised. That was when Telephoto (Revathy's husband Suresh Menon's production house) was looking for a script, and I wrote Mitr. Revathy wanted to direct the film, and I agreed. I was not part of the film at all except as a scriptwriter.
What happened after Mitr?
I did the serial Anbulla Snehithiye (with Suhasini) for Sun TV. Based on Chitra Divakaruni Banerjee's novel Sisters of My Heart, it didn't do that well, but won a lot of critical acclaim.
Were you depressed about not being able to direct a feature film yet?
I was very depressed when nothing happened for three years. That was when Mani Sir called me to assist him for Yuva and Aayutha Ezhuthu.
How did Prakash Raj's production house agree to produce your first feature film?
I had met Prakash Raj during the shooting of Iruvar, and we had a good rapport. I had been meeting many producers with my story idea, but nothing was working out. That was when a friend made me get in touch with Prakash. When I called him, he fired me. He said, do you think I am not a producer? He was angry that I hadn't got in touch with him earlier.
Even after he called me for a story narration though, I didn't think I would be making a film soon. But he agreed the minute I finished the narration. Prakash was a boon from God for me. He said the script was the most important thing, not commercial considerations.
What is Kanada Naal Mudhal about?
It's a love story about real people. I don't think I have brought about something new or radically different as far as story is concerned. The way I have told the story is my way.
What were your considerations when you chose the artistes?
All three are very distinct characters in the film. For Krishna, the character Prasanna plays, I wanted somebody who is earthy, rooted in the real world, one everybody can identify with. He may look quiet but, on screen, Prasanna just blossoms.
For the heroine, I wanted a girl who has to show all sorts of emotions. I thought of Laila because she has a flair for comedy, and she is very good in emotional scenes too. I took Karthik (hero of P C Sreeram's Vaanam Vasapadiyum) because I wanted a suave, city bred, confident guy. He did a small role in Alai Paayuthe and Yuva and I knew he was my third hero.
They have all done a great job.
P C Sreeram is the cinematographer.
His niece Preetha and I have done several documentaries and television serials together. PC Sir was actually following what I was doing through Preetha and Revathy. I was nervous when I went to tell him the story, but he agreed to do the film. The most beautiful thing about him is that nothing is as important to him as the film. He will do anything for the film.
How important is it for you to get Mani Ratnam's approval?
It is important but what Sir said is, 'What is right for me may not be right for you. What works for you may not work for me and vice versa. You should not worry about what I think of your film.'
Priya's photograph: Sreeram Selvaraj
