INTERVIEW | I hope to make films till my last breath, says Selvaraghavan
It’s quite an achievement that after a decade full of horror duds, a decade full of filmmakers attempting to capitalise on the popularity of the horror genre, Selvaraghavan’s first film in the genre, Nenjam Marappathillai, exudes an air of novelty.
It may seem like a regular story on the surface, but the filmmaker, as he has done with many of his recent films, reaches out for something loftier: in the case of this film, an examination of the struggle between god and devil through the focus on its depraved protagonist, Ramasamy (SJ Suryah). Here’s Selvaraghavan himself discussing this film in detail and in the process, providing a lot of insight into his person.
Excerpts:
Given the strong commentary on faith in this film, is it fair to conclude you are a believer?
I strongly believe in a deity and hope to understand so much more. My first dream was to become an engineer. And then, I realised I wanted to become a filmmaker. Today, I think I want to try and understand God. I hope to hang up my boots sometime and set out on a personal journey to discover myself and God.
Wait, are you talking about quitting cinema?
(Laughs) I am conflicted because I also want to make films till my last breath, like Clint Eastwood, who is making films though he is in his 90s. I don’t think the filmmaker in me will ever die.
With Saani Kaayidham, you are turning actor as well. Is this choice motivated by your admiration for Clint Eastwood as well?
I am embarrassed to be mentioned in the same breath as him (laughs). The script of Saani Kaayidham seemed interesting. I think every filmmaker is an actor. If I get good scripts, I’m quite happy to try my hand as an actor.
Considering that Nenjam Marappathillai suffered a substantial delay, was there ever the worry that it could feel outdated?
I always believed in this script. I always told people like SJ Suryah that no matter when this film gets released, it will still feel fresh. Some scripts have that quality.
SJ Suryah, whose performance has come in for a lot of praise, seemed such a natural fit in your world.
For years, I have been watching his work and have wanted to work with him. I have always found him to be an interesting actor. There are many such talented actors out there, looking for opportunities from the right filmmakers.
While on performances, Dhanush has always spoken about your influence in shaping him as an actor. What do you credit for the evolution of your cinema understanding? When did this happen?
I owe it all to cable television. It did not matter if I was beaten up at home for wasting time on it; I would sit and watch the same films over and over again on channels like Star Movies. I was intoxicated by what I was watching. When everyone at home was asleep, I was watching cable television all night long, the volume barely high enough for me to hear what was going on.
Watching films is one thing, but being able to read them is quite another.
Yes. You can’t become a filmmaker simply by watching films. I may be wrong here, but I believe that filmmakers are born, not made. Let us also remember that it is all such hard work. Only I know how many thousands of pages I wrote before Kadhal Kondein, pages that went into the bin because they did not seem good enough.
I loved those rock portions that feature SJ Suryah in an outlandish costume, and thought they were a great way to bring out his inner self. Was it hard to explain what you were going for, when shooting them?
I meant for those portions to signify the most private side of Ramsay. SJ Suryah really let go in those scenes. Ramsay thinks of himself as a rockstar and those in home as his audience. I did not want to make these ideas obvious to the audience. As a filmmaker, I assume that the audience will understand. I have refused to spoon-feed information from Thulluvadho Ilamai.
I particularly enjoyed how you envisioned the songs in it, especially ‘En Pondaati Oorukku Poita’ and ‘Kannungala’.
I knew that placing a song would be difficult in this film. I have always wanted my films to feel like a wacky trip. I think all these ideas came together really well in Nenjam Marappathillai. It also helps that I write the song placements in my script, with much description. When Yuvan and I collaborate, our objective is always to create something different. We were young men when we embarked on the film journey. Today, we are more friends than colleagues. I guess that’s why our collaborations feel particularly special.
Yuvan has previously spoken about how you approach him with world music references. Specifically, Western classical and orchestral music has always been a part of your cinema.
I love Western classical music; I love Mozart, Beethoven… I love opera. My family thought it was quite strange that someone as young as I was, was listening to such music. Western classical has a certain rhythm to it that lends itself naturally to editing patterns.
The film has a lot of class commentary. You also speak of how those with new money aren’t welcome in traditionally wealthy families.
I think money makes it quite easy for wrongdoers to escape punishment. It’s obvious in our world, isn’t it? As for the newly rich people not being welcome in wealthy cliques, this is something I have experienced personally (laughs). You can flaunt brands like Ferragamo and Louis Vuitton, but they don’t care. They will respect only those who are born into money. I wanted to cover this in my film. Dhanush, our sisters, I… we all grew up in poverty. Having risen today, I have realised that there is no happiness in money. I hope to make a film about this someday.
Ramsay seems crippled by his inferiority complex. Many of your protagonists have been introverts.
When I make them next-door guys, they become more relatable. The truth is, our society is full of introverted men. Growing up in a modest T Nagar locality, we felt like aliens when among the confident and the extroverted. I was not one of those who could easily step into a group of friends and become one of them.
Could you expand on the character of the old, visually impaired man in this film?
I conceived him as a drop of god. That’s why the moment he encounters Mariam, he is heartbroken by what he already knows to be her fate. That’s why he cries. I love every scene he is in; I loved writing and filming them. Nenjam Marappathillai is a film so close to my heart.
The VFX portions towards the end of this film seemed rather rudimentary. Was it due to budgetary constraints?
Yes. Also, during conception, certain promises get made, and then, we all try the best we can. I mean, we all realise we are not making an Avatar (laughs). But I know we can do better; we must.
How much does it affect you when what you conceive does not make it to the screen?
Filmmaking extracts a huge toll on you. You toil much for a film, even though you don’t have to. Aayirathil Oruvan took away two-three years from my life. Nenjam Marappathillai is a film so close to my heart—and to have to wait for five years to see it come alive... There is just so much pain in this field. It’s so glamourised on the outside. However, my hunger for cinema is still the same. It’s not about the money; it is about the joy in making something new with each film. That’s why Clint Eastwood, though he has done it all and won it all, is still making cinema. I want to do everything I can in cinema.