Prakash Varma Interview: I'll pursue roles that scare or challenge me
Known for masterminding iconic campaigns like the You and I, in this Beautiful World for Hutch and the legendary ZooZoo for Vodafone, ad guru Prakash Varma stunned audiences with his maiden acting gig in the recently released film Thudarum—and what an entry it turned out to be! Playing one of the most detestable antagonists in recent Malayalam cinema, Prakash’s portrayal of George Mathan, a seemingly friendly senior police officer with a hidden sinister side, in this emotionally charged thriller sent chills down spines.
Right from the first show of Thudarum, people wanted to know more about this actor. While he enjoyed donning the cloak of anonymity despite his towering stature as an ad filmmaker, Thudarum has changed that status quo. His face is everywhere, and with good reason.
As the Mohanlal-starrer continues to run to packed houses, we caught up with him to chat about his leap into acting, the art of storytelling, working alongside his childhood inspirations, and more.
Excerpts:
How did the opportunity to act in Thudarum come your way?
I’ve known the film's writer KR Sunil for years. During the pre-production of Thudarum, I was shooting for an ad film in Ernakulam and had come home for a bit. Sunil took a photo of me and sent it to Tharun (Moorthy), who asked the former to convince me for the role. When I asked Tharun about the character, he just said, “He’s a very good man.” I laughed and told him, “But I’m not a good person.” He immediately replied, “Okay, let’s say he has some grey shades too.” That’s when I agreed to listen the story. I was in Mumbai, working on the post-production on an ad film, and Tharun came to meet me. He was convinced I should play George. Later, he came to my office in Bengaluru and gave me a three-and-a-half hour narration. I hadn’t heard anything that detailed and absorbing in a long time. It shook me to the core.
As a filmmaker myself, I love narrating stories, but this one really stayed with me. I’ve always chosen the riskier path. The character of George made me uncomfortable and that inspired me to take it up. It was a tough decision, especially since I was skeptical about wasting everyone’s time, including Lalettan’s (Mohanlal), if I didn't perform well. But that challenge excited me. Tharun is a brilliant director and Renjith ettan is a great producer. Then there’s an unbelievable star like Lalettan, someone I share a close bond with. That’s one of the major reasons I took this up. Also, I remember falling in love with the idea of love while watching Shobana in films like Innale.
Did you undergo any mental or physical preparation before stepping into the shoot?
No. I told the team that I had several commitments, especially since my projects involve long schedules and international teams, all operating on tight timelines. Even though I’d agreed to act in Thudarum a month earlier, I was busy shooting one of my ad films in Rajasthan. I told the team to start without me, and I joined after the first 20 days. There wasn’t much time to think or prepare. I just stepped into it. I completely trusted Tharun's vision.
Your first scene in the film was with Mohanlal, which must be an unforgettable moment for any debutant. Did you feel intimidated?
Like I said earlier, there was definitely a fear that I might waste time in front of the camera, especially with someone like Lalettan, who’s been a part of my life since childhood. Despite our close relationship, it was still a challenge. It made me uncomfortable, but that’s exactly why I wanted to take it on. I asked Tharun not to start with a scene involving Lalettan, so we began with some solo shots of me in uniform, sitting on the bed. Later that evening, Tharun gave me a heavy scene where George informs (Maniyanpilla) Raju chettan’s character about Benz's son’s death. Surprisingly, it went smoothly.
The first combination scene with Lalettan ended up being the first one in the film, and it flowed effortlessly. He has given me the affection of a brother over the years. There’s a comfort that comes with that, which makes the scene natural. Then there are moments that don’t appear in the script but get improvised during the shoot. For instance, there’s a bit where Benz says his name, and my character casually asks if he’s a gunda. Lalettan wasn’t told about that line beforehand, but being who he is, he reacted to it spontaneously. After the take was approved, Lalettan jokingly said to Tharun, “Sir, enne gunda ennu vilichu!” (laughs). That’s the kind of innocence he carries, even after all these years. There’s so much to learn from working with legends like him.
Mohanlal is known for being a “give-and-take” actor. Did he offer any suggestions or guidance while you were performing with him?
We’ve always heard about Lalettan being like that, and as someone who had worked behind the camera until then, I was aware of these things. But experiencing that give-and-take between actors for the first time was something else entirely. Lalettan’s performance is subtle, but if you look closely, there’s so much depth and intensity. When acting with him, he gives little markers, like where to stand or when to move aside. What struck me most was how he lightens the atmosphere between takes, talking about random things. I think that’s part of his brilliance.
I don’t know if he did that because I was a first-time actor, or because of the bond we share, or if it’s simply part of a larger philosophy he follows in his craft. But yes, before each shot, there was always this enjoyable kind of distraction. It makes you feel relaxed, so when the camera rolls, your performance feels natural. Also, I believe the impact of George is greatly due to the energy and aura that an actor like Lalettan brings. If this same character had appeared in a smaller film, it probably wouldn’t have resonated as deeply.
Could you reflect on the bond you've shared with Mohanlal over the years?
I’ve known him since my advertising days in the early 2000s when I pitched several ideas to him for my ad films. He’s someone who has always been very aware and informed about my profession. We later collaborated on Byju’s campaigns, and over time, our bond grew stronger. But with a feature film, the journey is longer, and you end up spending many casual moments together, which deepens the connection. I genuinely believe he has a special place for me in his heart, and I’m forever grateful for that.
Even when directing, the nuances I ask my actors to bring in—the subtle hand gestures, the movement of the eyes—those are things I learned from observing him. So from admiring him from afar to now sharing such a soulful relationship with him feels like a blessing. He’s also deeply spiritual, and never speaks ill of anyone. It’s something I’ve tried to follow. The grace and goodness he carries in an industry like this speak volumes about the values he must have grown up with.
As someone who has spent more than 25 years behind the camera as an ad filmmaker, what was it like stepping into the actor’s shoes?
It’s an extremely comfortable process because I don’t have to plan anything (laughs). I stopped preparing the dialogues after the second day because Tharun is the king of last-minute improvisation. If you’re ready with a line, he might ask you to deliver it completely differently just before the take. After a few days, I was hooked. Acting became so enjoyable that if Tharun told me I didn’t have scenes that day, I’d feel sad! I’ve also learned so much from him. Now, when I’m on my own set, I notice how much my interaction with actors has changed a lot since Thudarum.
Now that your portrayal of George Sir has been met with such great responses, do you see yourself exploring acting more seriously in the future alongside your work in advertising?
Through this film, I’ve discovered a new side of myself I had never understood before and that’s my biggest takeaway. Working on a film of this scale, with so many actors, gave me the confidence that I can handle it. I’ve been in advertising for 27 years, and while it’s still my bread and butter, I wanted to step away from that space to truly understand making feature films. It’s something I’ve always been passionate about, ever since I was in 10th grade. Also, I’m already working on a feature film of my own. The writing process is on, but with feature films, you never know exactly when it will come together. Right now, I'm balancing my advertising work, my plans to direct a film, and simultaneously doing what excites and challenges me. There’s always a risk of getting stereotyped. If similar police roles come to me now, I’ll need to really think twice. It's not about playing a negative or a positive character, but simply because repetition can be dull. Every role has depth—be it a lead, a supporting part, a negative character, or even a smaller one. But if a role genuinely scares me or makes me feel like I can’t pull it off, that’s the one I’ll pursue. That goes for anything in my life really. If something makes me nervous or pushes me out of my comfort zone, I take it as a sign that it’s worth doing. I will continue mostly in advertising, but if another exciting acting opportunity comes along, I’d definitely take it. Especially after doing Thudarum, I think, why should I stop acting?
As a filmmaker rooted in advertising, do you see any creative or structural differences between ad filmmaking and feature filmmaking?
I don’t see any difference between the two. Since I began my career working in feature films, I’ve treated ad filmmaking like making a full-length film itself. If an ad doesn’t have a story, I create one. If it lacks an emotional moment that hits you, I add that in. I approach it as a storytelling format, not just a way to sell a product. I treat every frame like a scene from a film, and my goal is to connect people to a story, even if it’s only 30 seconds or a minute long. Maybe other advertising agencies operate differently, but for me, there’s no difference at all.
Your Greenply ad campaign concept became the seed for a full-length feature in Lijo Jose Pellissery’s Nanpakal Nerathu Mayakkam. How did it feel to see that idea expanded into a full-fledged film?
I actually spoke about this recently at a Literature Festival, in response to a question about whether people today lack the attention span for longer content. The assumption is that everything has to be short and fast, or people won’t feel engaged. But that’s just a myth. Look at how people binge-watch series on OTT platforms for hours on end. It is because the storytelling is engaging. Whether it's a documentary, a film, or even an ad, if it’s told in an interesting way, people will watch it. Nanpakal Nerathu Mayakkam is a prime example. They took an idea that was originally expressed in 60 seconds and turned it into a two-hour film. I was genuinely thrilled when I saw it. I immediately called Lijo to tell him how beautiful it was. If something is told well, regardless of the format or the country it comes from, people will embrace it.
When a client or producer approaches you with a campaign, what’s your first instinct or starting point in shaping the direction of the advertisement?
The first thing I always ask is, "What’s the one thing you want to say through this?" In a commercial, you can’t say everything. If that one thing lands well, the rest will follow. My structure is built around that core idea. The communication needs to be simple and focused. If I try to say too much, the message will get lost. That’s my starting point.
You’ve worked on both tourism campaigns and product placement ads. How do you compare the creative freedom you get in tourism ads versus product-driven commercials?
Tourism clients are mostly government-based and they give me a lot of freedom since they don’t advertise regularly. They often trust me completely and say, "It’s all your magic, go ahead." That trust excites me. For Kerala tourism, I try to move beyond the usual images of Kathakali dancers and houseboats. Kerala has a spiritual, sensuous side with deep silence and soul, and I tried to tap into that. Even with the Dubai tourism campaign led by Shah Rukh Khan, I didn’t want to show the glossy backdrop of the city in a boring manner. I framed the campaign around him in a way he blends into the city, making it his own. It became a playful, engaging experience rather than just a showcase of the city. What excites me most about tourism campaigns is finding fresh angles and telling real stories that break away from the usual postcard imagery.
