After working on director Mu Maran’s recent film, 'Kannai Nambathey', Srikanth is set to reunite with the filmmaker for Blackmail. “My second film with director Maran is a hardcore crime thriller about a blackmail racket. We shot in fantastic locations around Ooty, Chennai, Coonoor and Coimbatore,” says Srikanth.
However, Srikanth shares that the extensive night shoots took some getting used to. “We ended up seeing more nights than days together! Initially, it was enjoyable due to the weather conditions, but sleeping in the day and being awake all night is not something one normally does. It became strenuous after a while. But the fantastic script and the scope of performance made it all worth it!”
In fact, the extensive night shoots turned out to be a learning experience for Srikanth.
”Lighting large, open areas at night is a tough job for the camera team. So one has to be very patient. Most of my scenes were with Bindu Madhavi. We had to go in search of something, and this required a lot of concentration and teamwork. We had to keep in mind the multiple camera placements, the lighting, and also ensure that our emotions were on point too. So, after the director explained the scenes, Bindu and I would sit with the director and cameraman and discuss each movement carefully in detail, before the take. We would suggest changes to elevate each other’s performance. It was wonderful to work this way, keeping coordination ahead of competition.”
During a complicated sequence, Bindu Madhavi and Srikanth had to can a single long shot where they had to get out of a car, run in various directions, wail, and emote inconsolably. “We were so happy to see the entire crew and watching crowds clapping, many of them with tears in their eyes.”
Srikanth has also undergone a makeover for the film. “After Nanban, this is the first time I have worked on my appearance thanks to Maran’s vision. I also trained to deliver more emotions without many dialogues.”
Srikanth is all praise for the commitment of his co-stars and the action sequences choreographed by Rajsekhar Master.
“The action is very raw and realistic. In one sequence between Anson Paul, Ramesh Thilak and GV Prakash, they had to throw any props they found around them, then fall and roll over in a scuffle. That is when Anson Paul tore his ligament. Though it disrupted the shoot and he had to go for surgery, he insisted on completing his portions despite the pain. Such was his commitment.”
Srikanth reminisced about shooting with GV Prakash for a sequence, which became a novel and fun
experience.
“Ramesh Thilak and GV Prakash had to come on a bike to a spot while I was in a car. Being a wide-angle shot, no instructions could be given. GV Prakash and I had to converse and coordinate in detail over our phones. After a point, we both started cracking jokes but we couldn’t actually laugh since it was a serious situation! To our surprise, it was okayed in a single take! I hope they never get to listen to what we both were actually talking about!”