Cinematographer-director KV Anand believes in good scripts. To him, it’s all about grabbing the attention of the audience, holding on to it with a slice-of-life moment, and tell a tale that’s worth telling. He believes in an honest approach in handling the story. Two years after Anegan, he’s back with the Vijay Sethupathi-Madonna Sebastian starrer Kavan. He talks to CE about the world of movies.
Excerpts follow:
What’s your idea of filmmaking?
I don’t want to make formulaic movies or stick to a particular genre. I want to tread all paths. For instance, Ko (2011) was a stupendous success and I could have easily continued to do similar stories, but I made Anegan. I challenged myself to do a ‘different’ film with Suriya. I don’t like to work on films back to back. I work continuously for 8-9 months, and then rest at home. Also, my films are inspired by what I read in newspapers. Gautham Menon usually goes for lengthy, poetic titles, and I love them, but I like my films to have shorter ones.
Tell us about Kavan...
Kavan means catapult. The film has the tagline ‘Aim the target’. The story is set in a corporate firm, and how a common man wins over the company forms the crux of the plot. Vijay Sethupathi and Madonna Sebastian will be seen as employees and T Rajhendherr plays their boss. Most of my films, including Kavan, will have a character with grey shades, but in the beginning the audience wouldn’t know who it is. It’s a realistic story. The script demanded freshness. As a director, I am completely satisfied with the film. Every character will get applauded at the end for the performance.
Why did you opt for Vijay Sethupathi and Madonna?
I don’t work on films after signing on actors. I go by the script, and the Kavan script needed them. Sethupathi is a natural actor. You don’t have to teach him anything. Even Vishal or Jayam Ravi can’t do this character. My ‘hero’ isn’t a regular hero. He’s one among us. Madonna doesn’t overact. She asks me to brief a lot about her scenes in advance. She understands every little detail that goes into the script. She gets into the skin of the character and performs. This movie is different for others reasons as well. Madonna too has a solid role to play.
How was it working with T Rajhendherr?
He’s a very sincere artiste. Initially, he wasn’t interested, but I was keen on roping him in. He says he doesn’t know to act. Even in Kavan, he doesn’t. It’s the same TR sir we all know (smiles). He loves to be himself on screen. I had to tweak some portions of the script to suit his style.
Your started off as a photojournalist, and now you’re a director. Looking back, how do you feel?
I miss being a photojournalist. Filmmaking is a huge responsibility, and every time I direct a film, I have this urge to cater to all sections of the audience. These days, every filmgoer has certain expectations from a director. I can never take all that for granted. That’s why I think it’s okay to have some clichéd things in the film. For example, you may wonder about a ‘silly comedy’ track in the film, but it will be appreciated by many. It’s hard to make everyone happy. I take up a project and give my all to it. I don’t think of another storyline when I’m working on the unfinished project.
Cinematography or direction — which is close to your heart?
Of course, cinematography! I feel relaxed when I am handling the camera. Direction is taxing. I don’t know how long I’ll be making films that audience like (smiles).
Do you have a ‘dream script’ ?
I’d love to direct Ponniyin Selvan, but I doubt if we’d do justice to the historical novel. First of all, who’ll come forward to produce it?
Who’s your favourite actor?
As a cinematographer, I have worked with almost all top actors including Kamal Haasan and Rajinikanth. I know them. I have seen them work. I don’t feel star-struck anymore. My first priority is always the script.
So, you don’t have the intention to direct ‘big films’?
I get that a lot (laughs). Anegan was a big film. I did that with Dhanush. Doesn’t that count? Even Kavan is a big film. Just because it has Vijay Sethupathi, does it become a small one? I believe in making films in a big way irrespective of the star factor.
Do you believe in sequels?
No. I would rather spend the same amount of time conceiving something fresh and novel.
What have you learnt in this industry over the years?
I started my career in Tamil cinema as a cinematographer with Kadhal Desam (1996). It’s been a journey of more than 20 years. I feel lucky to still be here, making films. Success in cinema is transient. Everything has changed after digital cinema. Directors’ fate in film industry is like betting on a horse. You shouldn’t show you are intelligent to the audience. Sometimes they
don’t like it. But you need to
maintain balance.
After turning director, you went back to being a cinematographer for Superstar’s Sivaji (2007)...
When Shankar asked me to work on Sivaji, I refused it intially saying I was busy writing. My mother, kids and wife — everybody didn’t want me to miss the offer. They didn’t talk to me for days. No, I am not lying (laughs).
Does failure affect you?
Well...it affects everybody. I still wonder why I was rejected when I had first applied for a job (as a photojournalist) in a top publication. But you have to move on. You don’t gain anything by thinking about it.