Ani IV Sasi Interview: I want to make films that give people hope
After making a dreamy slice-of-life film like Ninnila Ninnila, Ani IV Sasi is returning with his sophomore project, Uppu Kappurambu. The wacky satire, starring Keerthy Suresh and Suhas, is all set to premiere on Prime Video on July 4.
Ahead of the film’s release, the filmmaker spoke to CE about the progress of his latest film, his takeaway from Ninnila Ninnila, major filmmaking influences, and his core intent behind wanting to make films.
Excerpts:
How did Uppu Kappurambu come into shape?
After I made Ninnila Ninnila, Radhika Lavu of Ellanar Films got in touch with me about making a series. We worked on the script for six months. At the same time, Radhika was talking to other writers, one of them was Vasanth Maringanti (writer of Cinema Bandi and Subham). He sent 3 synopsis, and one of them was Uppu Kappurambu, which I found very new and exciting. Vasanth wrote the first draft in a month, and then we improvised upon it.
How did Suhas and Keerthy Suresh come on board?
I watched Suhas’ work in Colour Photo and Hit 2 and found him very versatile. He has many aspects similar to actors like Mohanlal sir, especially the flexibility. He also has a great understanding of characters.
Keerthy's character in the film is close to her real-life persona. She is very easygoing and talks with a bit of sarcasm in her demeanour. I knew she would be in a comfortable space with this part, and I am glad she did it.
In an interview, you mentioned how Keerthy Suresh’s character came in much later. How did that work out?
In our first synopsis, we only had a graveyard keeper character, whom the village goes against. We then thought of bringing in another character to share the protagonist’s weight — that’s how the village head figure, played by Keerthy Suresh, came in. Also, we wanted polarity, where we have two similar people with different backgrounds yet sharing the burden.
How was it collaborating on a script that’s not originally yours?
Vasanth penned the first synopsis, but he didn’t have an end to the story. We then discussed the story for about two weeks to figure out the climax. Vasanth would send me these 3-minute audio notes, explaining every detail in length (laughs). I would then share my pointers. But mostly, it’s Vasanth’s writing at work here.
You have also worked as an editor and sound designer. How does that help you as a filmmaker?
When I write, I write it in the form of staging — it has shot divisions. When I see Vasanth, I see a proper three-act structure, a script that has openness for a director to come in. I don’t think I am a good writer. My writing sounds like someone who wants to direct a film (laughs). Even camera placements and sounds will be mentioned in my drafts. I take a long time to write, and I don’t know how to follow a structure; I go with the flow.
Visually, Uppu Kappurambu appears to be in stark contrast with Ninnila Ninnila…
After I finished Ninnila… shoot in London, I realised the tone of the cafe setup is very similar to Minsara Kanavu — the soft colours in it, how the frames are lit, especially like the song ‘Strawberry Kanne.’ A few days ago, I was browsing YouTube when I came across Avvai Shanmughi, and I realised Uppu Kappurambu’s visual style is inspired by it. These influences are all happening subconsciously.
Why was the concept of snow so essential in Ninnila Ninnila?
(Laughs) I wanted Maya (Nithya Menen’s character) to see snow in the film. Snow is something she looks forward to. Later, when the two leads got stuck, I wanted to have that cold visual feel. I wanted it to snow, but only Maya should see the snow. I was sure about it.
What was your takeaway from the response to Ninnila…?
I was very grateful. Though the film wasn’t promoted very well, later I got a lot of messages from audiences who were going through tough times. They said my film gave them a lot of solace, which was very heartwarming. I just want to write films that give people hope. When I am alone at home, not having a good day, at least I will have a film that helps me get through the day. I want to make those kinds of films for others.
Does that mean you don’t like dark or intense movies?
I don’t mind watching dark stuff sometimes, but by the end, I know I will be too disturbed. Like Gasper Noe’s Climax — I didn’t know how to get out of it for a few days. The editing and craft were amazing, but that’s the film I don’t want to make.
I love films like About Time, Crazy Stupid Love, and Braveheart, and old comedies like Michael Madana Kamarajan and Panchtantra. Suresh Krishna is one of my favourite filmmakers. At the same time, I also love Shutter Island. The sound, the rain and the sea heard throughout the narrative, I find it very comforting.
Has your working experience with Priyadarshan left imprints on your sensibilities?
Priyan sir has great clarity on the shots he wants, and he shoots very fast. But also, he will shoot one shot for every dialogue. That creates problems for the editor (laughs). Editors need options; there needs to be openness for them to come in, so I am trying to break away from it.
What are some of your filmmaking inspirations?
Jandhyala gaaru is a major influence. A lot of Crazy Mohan films played a big role in shaping my sensibilities. And if I truly look up to someone, it’s Steven Spielberg. He explored every genre and owned each one of them. I want to do that too.
I don’t think I have my father's (IV Sasi) style. I have his speed and anxiety, though. When shooting, before a shot is done, I am thinking of the next one. That was my dad’s thing as well.
Both your films so far have been OTT releases. What are the pros and cons of streaming release?
There is a larger audience on OTT. It’s convenient for people too, as they watch it in their own comfort and still appreciate it. However, Social media will also change the kind of films being made. We will start making films closer to what we watch on social media. If something works for the present, I don’t know if it will resonate in ten years.
Is a long shelf life a priority for you while writing or making a film?
There is no longevity; nobody is immortal. I don’t know if any filmmaker will be remembered after 100 years. Sure, you can hope for longevity. If someone comes across my film today, I just want them to be entertained for the day.
What do you think about the future of filmmaking?
AI will take over soon. God knows if films will be a thing 50 years later. Maybe they will make rides out of movies. That’s the extravagance we are talking about — it can’t just be a good story anymore. That’s how cinema started as well — like a circus, a source of entertainment. We are still doing the same thing in a way.