Priyadarshi: My films are the only marketing I need
Basking in the success of his recent hit Court, Priyadarshi, known for his natural comic timing and subtle performances, returns to the big screen with Sarangapani Jathakam, a film written and directed by Mohanakrishna Indraganti, releasing on April 25. Produced by Sridevi Movies, the film is set to explore themes of astrology, fate, and free will with Indraganti’s characteristic sense of situational humour and eccentricity. Ahead of the release, CE caught up with the actor, who speaks with striking honesty about his work ethic, his evolving views on cinema, and the very visible machinery of marketing that now surrounds every new film.
Back when you did Pelli Choopulu, you said even getting basic equipment was a struggle. Now, you're being filmed with three high-end cameras. What’s that like?
Sometimes, that memory just flashes. Like right now, there’s a 1DX camera here. That camera used to be a big deal for us. It was only in the hands of wildlife or fashion photographers. And now it’s normal. That thought brings me back. It reminds me that none of this is permanent unless I keep doing good work. The equipment has changed. The stakes are higher. But the job remains the same.
What does a day in your life look like when you’re not on set?
I’m the master of doing nothing. I can sit like a piece of furniture. Occasionally, I binge something or read a little. Even when I travel, I often just sit in the hotel and do little else.
Do you consider yourself a reader?
Not really. I used to manage two books a year. Now, it’s down to one, and I’m not proud of that.
You studied mass communication. Do you think about film marketing cycles, PR, buzzwords and such?
Only when they’re relevant. Most of it is out of our control. I believe my work is my PR. That’s all. These terms, positioning, branding, come into play only when I’m promoting a film. Beyond that, they don’t concern me.
Is it possible today to look at cinema beyond the binary of hit or flop?
We can and maybe we should. But cinema is part of a business. Theatres today are boutique experiences. BookMyShow even pushes discounted popcorn. That’s the level of integration now. Distribution and exhibition are business networks. But I think everyone should stick to their strengths. Writers shouldn’t be burdened with marketing, and marketing people shouldn’t sit in script discussions. If each person does their job well, the cinema will benefit. The puritanism approach is only possible when the film makes money. Because a film like Court succeeded, I might be able to make another courtroom drama. I want HIT 3 to do well for Nani anna, but because if it makes money, he’ll back something like Court 2. I need a Pushpa to succeed so that those producers will come and invest in my films too. This cycle should keep on going.
How do you personally differentiate between a good and a bad script? And do you prefer narration or reading it yourself?
I always prefer reading the script, because gives you the writer’s full intent. For Sarangapani Jathakam, Indraganti sir just gave me the one-line pitch, probably what you’ve guessed from the trailer, and then gave me the full script. That’s when I really connected with the material. The emotions, the tonal shifts, all came through. If I feel disturbed, amused, or moved while reading, I consider that a good script. I have blind faith in the idea that only a good script can become great cinema.
You’ve worked across indie sets and massive pan-Indian films. What distinguishes a good director from a bad one for you?
I would say the difference is between efficiency and inefficiency. An efficient director knows what he wants and also understands the outcome of his choices. That clarity makes all the difference.
When a new filmmaker approaches you, what’s your first question?
Where is the script?
Will we ever see you in a full-blown action film?
Of course. But I’m not chasing an action film just for the sake of it. I want to make a good film and if that includes action, great. I need there to be a strong reason for the violence. Just like I know why I’m making you laugh in Sarangapani Jathakam, action too should serve a clear purpose. Otherwise, it doesn’t interest me.
From the trailer, Sarangapani Jathakam seems to be exploring free will versus determinism. Do you believe in astrology?
That’s a fair reading. The film looks at whether life is predetermined or if we have agency. Personally, I don’t believe in astrology, but I’m not dismissive either. I’d call myself agnostic. I need some scientific basis to fully buy into something. But I keep the door slightly open because belief systems, religion, love, and astrology are personal. They shouldn't be imposed.
What’s the wisest thing the industry has taught you?
Strong work ethic is everything. This is a people-driven business. Collaboration matters. There’s no hierarchy in importance. Everyone contributes. Discipline sets you apart. That’s the biggest lesson I’ve learnt.
Tell us about your upcoming projects.
There’s a film called Premante which is in production. Another exciting one is Mitra Mandali. Both are shaping up well.
Your film is releasing on April 25. HIT 3, a big release, is coming just a few days later. You’re close to Nani. Any thoughts?
Audiences today are very sharp. They go by ratings, reviews, word of mouth. I’m confident about Sarangapani Jathakam. It will have its space. And when HIT 3 comes out, it’ll take over the weekend. If people don’t get tickets for that, they might come to us. It’s a level playing field. Both films will find their audience.
What advice would you give to aspiring actors or filmmakers today?
It’s all DIY now. What worked a decade ago doesn’t hold anymore. Actor Sridevi in Court was discovered through an Instagram reel. Harsh Roshan is a lead actor today. Talent finds its place. Look at our poster for Sarangapani Jathakam. More than half of us don’t come from film families. So yes, skill has a place here.
Which films have influenced your journey?
The early works of K Viswanath gaaru, Balachander gaaru, Narsing Rao gaaru. Sagara Sangamam, Rudraveena, Apocalypse Now, Pulp Fiction have stayed with me. I also feel we don’t celebrate Chandrasekhar Yeleti gaaru enough. He’s the most underrated filmmaker of our generation. His films deserve a re-release in this current trend. I want him to make more films, and I’d love to be a part of them.