AM Rathnam, producer
Rathnam,
strict father. All these aspects are very relatable to family audiences, then and now. Plus, all the actors in the lm — Vijay, Trisha and Prakash Raj — are still very relevant today.
Q:
was – and is still – a success because it treats its protagonist not as a hero but as a normal boy. We are very happy that its re-release is doing well in cinema halls and that audiences are lapping it up. There is a general craze for part-2 films now;
and were hits. We are planning a currently and similarly, I will try taking steps to create
Take us back to 2004, and tell us how you managed to pitch the idea of
Ghilli to Vijay and producer AM Rathnam...
I had nished Dhool,
starring Vikram, and my assistants and I just wanted to go watch a lm. Telugu lm Okkadu had released, and we watched it in Midland Cinemas. It was gripping from the rst scene, but I became very anxious as the lm proceeded. I had a story idea based on a kabaddi player, another storyline on a romance between a guy who hid his girl in a lighthouse, and another road lm idea. Okaddu had all these
Dharani:
(laughs). the day before the shoot.
Q:
You have a long-standing equation with music composer Vidyasagar, whose tunes in Ghilli have audiences dancing in theatres even today...
During every composing session, we have a thagaraaru
(argument), but it was always an anbaana thagaraaru (friendly argument). He insisted on having melody tunes, and I used to tell him, in a friendly way, to give those tracks to directors like Radhamohan and Viji (smiles). For this lm’s template and speed, I wanted slightly fast-paced numbers, and he
delivered in a big way.
Dharani:
Finally, can we look forward to Ghilli 2 sometime?
Ghilli getting a re-release now is the second part (laughs). I don’t know if we would have got such a reception even if we made a Ghilli 2!
...And this unorthodox style, I heard, spills over during the shoot and post-production as well?
I don’t use precise technical terms to describe a scene to my technicians; I just explain how I want it to be. If I’m going to use editing terms with an editor, he might get irritated after a point. When they’re specialists in those streams, you leave it to them about how it’s done. Not only does this increase their condence it also makes them feel comfortable to work with us again. Contrary to my discussion space, my shooting spots buzz with activity.
A:
three elements in them. We immediately met producer AM Rathnam, requested him to get its remake rights and make it in Tamil with Vijay.
Q:
Ghilli remains one of Vijay’s most rewatchable lms. How did his presence add to the storyline you had in mind?
Vijay had till then not attempted so much humour in his lms. In Ghilli, we were determined to get that sense of humour out. I would usually act and showcase what I wanted, and Vijay would immediately deliver that eortlessly in front of the camera; he was almost like an AI model replicating exactly what we had in mind. His comedy timing was excellent, and all the family sequences involving him, Ashish Vidyarthi, Janaki Sabesh and Jennifer were a hoot.
Dharani: Q: Q:
aDharani:
There, I aim to do a minimum of two shifts a day.
Q:
Your lms have always concentrated on male protagonists but Rathnam seems to revolve around the female lead character.
You’ve guessed it right; Priya Bhavani Shankar’s role in this lm is of utmost importance. Apart from her character, Priya, as an artiste, also had a lot of challenges in this lm. She pulled o a single-shot scene, 300 feet in lm length, involving a lot of movement and lled with dialogue brilliantly. Positioning, especially in such long shots, is of much importance, and the actor should be talented enough to pull it o. The fact that Priya can do all of that and knows the language makes it perfect.
A: Q:
It’s been 17 years since you rst collaborated with Vishal. How do you think the two of you have evolved?
I think I’ve been the same (smiles) and I’m glad that I’m getting work — which I believe I’ve been doing well. It’s nice to see the growth of Vishal, both business-wise and how he has gained an audience even in the North. He is easy to work with, and likes to keep everyone happy.
A: Q:
For a lmmaker known for fast cuts, having single-shot sequences, toning down action sequences are some examples of change we spotted in your last
lm Yaanai. Is that you evolving as a lmmaker?
My move comes from needing challenges while making a lm; the Yaanai interval shot, for example, runs for around 350 feet. As far as the other changes are concerned, I see lms made by my friends and that could probably in uence my work as well.
In Rathnam, I’ve pulled o a ve-minute single shot, without any stitching, where there are vehicle tracking shots, an action sequence involving rope work, and a chase sequence involving blasts and vehicles toppling.
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Rathnam hit screens today