KOCHI: Scriptwriter Paulson Skaria has had a dream run in 2023, with both Neymar and Kaathal, which he co-wrote with Adarsh Sukumaran, emerging commercial and critical successes. The 28-year-old scenarist, from Piravom, speaks to TNIE about his passion, working with Mammootty and Jeo Baby, handling a subject like homosexuality, and more.
What inspired you to become a scriptwriter? And how did you meet Adarsh?
I have been in love with cinema since childhood. My initiation into the fascinating world of filmmaking began when I met Devdath Shaji, the co-writer of Bheeshma Parvam, in college. We worked together on some short films. Later, I met Adarsh through Devadath. We were bound by our passion for filmmaking. It’s been a decade of friendship with him. I didn’t know much about writing back then, but my Ideas would bounce off well. Once I took writing seriously, I started receiving positive feedback. That gave me the confidence to write further.
What comes first when you sit down to write: the storyline or the message?
Personally, an idea that strikes me or an untold story is from where it starts off; the message comes in organically, it’s never a deliberate insertion. Films are for entertainment, and that remains my priority. Hence, there is no guarantee that my future films will deliver social messages.
How did you guys manage to bring in the impressive, artistic layers to the package?
Right from the start, we knew the idea was special. Most importantly, it reached the trusted hands of Jeo chettan (Jeo Baby), who is known for his perspectives and artistic quality. Then, of course, Mammukka and Jyothika ma’am came in. Though we were rookie writers, they had confidence in Jeo chettan.
How was the experience of working with Mammotty and Jyothika?
Full of lessons, indeed (laughs). We initially went in with false presumptions that they might be short-tempered or stiff towards us, as we were freshers… That was not the case. Mammukka, despite being one of the most senior actors in India, was super cool, very friendly.
He would come in the morning, and discuss the scenes for about 10 mins. Then, he would chat about worldly affairs for an hour. The set was cool. We had 28 days of shooting with Mammukka. He thanked us on the last day, and said the set was really comfortable. We were elated.
Jyothika ma’am was cool, too. It was inspiring to watch how she put in extra effort to overcome language constraints. Both were dedicated and down to earth. They valued our opinions and never looked down upon us as rookies. I must say, Jeo Chettan also always ensured that we were on the front row in every aspect.
Can films help erase social stigma?
Well, social stigma is not something that we can completely erase. We have all been conditioned by society in a particular way. The change will come about with small steps at a time, slowly. In 2018, homosexuality was decriminalised. It was a major shift. Slowly, with time, things will get better. We need to accept that there are homosexual people around us. As part of the scriptwriting, we met some of them, and they shared their painful experiences, which are extremely distressing. We need to realise their difficulties and respect them like all humans deserve.
A film cannot erase the stigma but can make even a conventional person realise the reality. Some will at least pretend to accept homosexual people as these kinds of films get spoken about and get a positive reception. They will at least rethink before using a curse word. That’s one positive impact, isn’t it?
Were you, at any point, sceptical about handling such a bold, sensitive subject?
Yes, in the beginning. But we stuck to the idea and focused on developing it with grace. Some directors had rejected the story… they liked the script but were afraid whether it would work out at the box office. We had initially not approached Jeo Chettan, as we learnt from an interview of his that he preferred working with his scripts. But destiny was at play, and Kaathal eventually reached the right hands of Jeo Chettan.
How did you connect with Jeo Baby?
All thanks to Justin Mathew, co-writer of Minnal Murali, who encouraged me to reach out. We met Jeo Chettan in Pala during the time we were writing the script for Neymar. We shared the story and gave him the script. He agreed to do the film after reading it.
How did Mammootty Kampany decide to produce the film?
That was Mammukka’s sole decision. He liked the script, and we received a call confirming that Mammootty Kampany would produce the film. It was an overwhelming surprise for us. We believe these are things only Mammukka can do. He is an inspiration to all, especially those in the film field. We realised that when we interacted closely with him. He has a solid perception of things. He gave a lot of input for the script. His intelligence left us all in awe.
Was Mammootty your first choice as an actor?
Initially, casting Mammootty was just a wild dream. We needed a director first, and once Jeo Chettan joined, things gained momentum, and he reached out to Mammukka. Thanks to Jeo Chettan’s confidence, the film came to life.
How did you create tension in the film without a traditional villain?
The societal system itself serves as the villain in the film. Everyone is a victim of societal norms, and the conflict between characters, like the husband and wife, generates tension. The realisation is that many societal norms need to be challenged and broken.
Your other interests?
I studied engineering… I enjoy playing cricket, listening to songs, and reading. Films are my core passion. I had also prepared for civil service, and that provided insights like those related to Section 377.
What’s next?
I am working on two projects. One will be directed by Basil Joseph, and the other by Mathukutty Xavier. I look forward to creating more impactful films.