Abhinav Sunder Nayak with Baradwaj Rangan | Mollywood Times l Naslen | Conversation

Añadido: 2026-05-31

[00:00:00]The movie should be entertaining. People should like the movie and whatever I need to communicate as a filmmaker, I should be able to communicate. It doesn't matter what tool you use. Uh and no tool is inferior. And probably I think it I realized it as I grew older.

[00:00:14]Only when I watched Mukundi Associ.

[00:00:22]So I never realized it before. Speaking of mukuni, there is a line there that says we need more empowered women in a shaonistic state like Kerala. Uh is that something you feel or was it just there in the movie?

[00:00:38]The Mollywood Times has this line that those who believe in the myth of a beautiful and fragrant life should not watch this movie. Uh I mean obviously you're kind of exaggerating there. I just have a very realistic worldview of life as in uh I just don't like romanticizing things too much. Uri the Tamil film the edit was a lot lot more challenging than I thought and and there's a lot of input from Vijay helped me understand oh this is how you create shock okay this is how this is how you cut to create shock I learned a lot from that film and also I think the most learning uh that I still carry is from a very small work that I did initially in my career uh it was a trailer of Tira and that's how I learned about editing a movie with music some things don't Not everything goes by plan in the industry.

[00:01:27]Everything just when you I I thought initially okay I would edit Odumra and then Mollywood times would start and I was having a proper plan in my head.

[00:01:36]Nothing worked out.

[00:01:37]>> When you're a control freak and when you are like a guy who plans everything and when things don't go according to plan, what happens to you? Do you kind of lose it? Do you do you need some time in a room just to kind of scream? What how do you handle it?

[00:01:51]Uh, I probably, yeah, I I vent it out to my closest friends or my partner.

[00:02:02]Darling, Satya Institute of Science and Technology, Chennai, GT Holidays, South India's number one travel brand. Hi. Hi. Great to meet you again. Uh I think the last time we met it was in some weird hotel where we had a very random conversation.

[00:02:25]>> I don't I don't know if you remember this.

[00:02:27]>> Yes. In the restaurant, right?

[00:02:28]>> In a restaurant. Yeah. So uh I want to ask you Mollywood Times is coming out now. Uh it's a film starring Nuslan and uh this is your second uh directoral venture after Mukunan Uni Associates which I loved and I think many people did. Uh but let's discuss the date first. Now, this is coming on June 5th because Toxic now moved its date from June 4th. Do you think the fact that I'm not talking about Toxic in particular, but there are many big movies that keep shifting around their dates, right? Do you think this causes a problem in theululing of mid-budget movies like yours or smaller budget movies? Do you think there's a bit of an issue there?

[00:03:09]>> Uh, I'm sure there are. uh even I'm sure these uh when the dates change uh it affects the overall plan of our movies but luckily for us u we never finish the film uh in the initial release date as in like I'm just locking the movie as we speak so uh only if the edit is done we're going to enter the other areas of post-production like mixing and stuff like that final VFX and stuff DI so all for that for all that to happen I have to finish my work and luckily for A lot of other movies came in between and uh June 5th uh we got a date a good date >> which is ideal for our timeline to release as in like as and when I finish my film I can release it with a calm mind on June 5th >> right so today is uh May 7th >> yes okay now don't you think okay you have to you have roughly about a month to finish everything don't you think it's better to fix a V release date after like you lock the post-production that is after the mixing is done after everything is done and then say okay this is what I'm doing. How does it help to announce a movie date like about a month or month and a half when work is still going on? Uh I think I think uh um a lot of business uh happens which I probably uh wouldn't be aware of or probably I should actually uh consider the producers point of view as well. Okay.

[00:04:39]>> Probably he has uh another vision for how to market the film and release the film. So he thinks uh from his angle. So >> uh it's okay to fix a date as long as uh it's not like going to be unrealistic.

[00:04:52]Whatever date he initially fixed was also realistic. It's just that I couldn't meet up to uh that date >> because uh uh I took more time than I actually thought I would.

[00:05:02]>> So it was completely editing. I mean uh when I get when I start working I keep adding small details and uh that takes a lot of time.

[00:05:11]>> Yeah.

[00:05:11]>> So and it's not like you know I deliberately uh took a lot of time. It's just that some ideas just take time to evolve.

[00:05:19]>> Right. So uh I'm lucky to have a producer like Ashman who actually understood it and uh and went with the flow.

[00:05:26]>> Can you give me an example of something that evolves during editing some like either from let's say Mukuni associates right when you're editing it what is something that evolved during editing?

[00:05:37]>> Mhm.

[00:05:38]uh in mukuni since I've already spoken about it in other interviews as in like the voiceovers and the motion graphics that animation sequences that come in between all those things were never part of the script okay >> uh even while shooting we never had that plan but as I sat on it uh uh it came to me automatically as in like organically just formed in my head okay this this would nice this would be nice if if there's this addition it would work well for the audience or it would work well to communicate what I want to communicate.

[00:06:08]>> Yeah.

[00:06:09]>> So if I add a voice over here, it would communicate act the exact thing what I really want to say.

[00:06:15]>> Okay.

[00:06:16]>> So uh it's all it all I think starts with uh communication. When certain things are not communicated, I try to communicate in through different ways. I use animation, I use voiceovers. Uh I don't see any of these tools as an inferior tool. I I I feel like you know uh there was a time in my pre in my early days as a filmmaker I was a purist as in like when I was 20 years old and all that. I used to think that you know voiceovers are really bad only bad filmmakers use voiceovers and uh a lot of things uh I I used to have a preconceived notion about how a movie should be. Uh now I have broken all those uh things like uh okay I think movies should be approached in a very free manner. It's a democratic medium >> and whatever helps you should communicate uh the and the end result should work >> and that's the point of it all the movie should be entertaining people should like the movie and whatever I need to communicate as a filmmaker I should be able to communicate it doesn't matter what tool you use uh and no tool is inferior and uh probably I think it I realized it as I grew older >> and can you tell me an example in Bollywood times that that your help wasn't too early.

[00:07:29]>> Mu times is also following a similar pattern I would say because I think by the time Mugoduni finished that's when I realized what I am as a filmmaker. I never knew what what my film would look like. Uh even though I had a vision of that this should be the it should be a mug for example I had a vision of a bad person winning in the end. That is a vision that I had but I never knew how I would communicate that to the audience.

[00:07:55]uh the voiceovers came later, the animation came later, everything together became a culmination of all those things became my vision which I never planned. It just happened that way. So uh I think that's when I realized okay this is what I am okay >> this is what my sensibility is only when I watched bug associ the final product that's when I understood oh this is who I am as a filmmaker this is what my sensibility about how I think so I never realized it before >> is is that sensibility something that is bound to change >> uh as of now it hasn't changed >> okay maybe if I change as a person or if something drastic happens in my life and I change as a person I my sensibilities may also change.

[00:08:36]>> I think that's how things work, right?

[00:08:38]>> Okay. Yeah, I think so that that because it like like I was also purist once because I used to believe in very like film should have not have many dialogues and things like that but ultimately I realized that that you know the people who write these rules they I mean anything works as long as it doesn't overpower any particular so everything is like you said >> yeah I think we should think freely and then I I think we we will uh get really nice ideas actually >> if we think freely if we always keep restrictions. I think it is going to affect our movies as well.

[00:09:11]>> Speaking of Mukuni, there is a line there that says we need more empowered women in a shaunistic state like Kerala.

[00:09:20]Uh is that something you feel or was it just there in the movie?

[00:09:24]>> Uh no, it it was just a random dialogue I added during the editing as in I never thought much about it. It was because while editing what happened was that I became the character while editing as in like I don't know if there's a word for it method.

[00:09:41]>> Yeah.

[00:09:42]>> I I I'm not an actor so I don't know how it works but while editing I I started thinking like Muguni while editing. So probably I thought this would this is how Mugoduni would comment about this particular thing and Mugoduni would try to manipulate the MLA by saying uh Kerala has six states so you should be empowered. Yeah.

[00:10:00]>> So that's how that's the way he tries to manipulate her.

[00:10:04]>> Yeah.

[00:10:04]>> I think that he would use that particular word to manipulate her. Maybe I I thought in that way that that's how Muguni would think to manipulate her.

[00:10:15]>> Okay. Okay.

[00:10:16]>> Now u Mukundi dreams of becoming a successful lawyer. Vinit Madavan which is the Nuslan character dreams of becoming a successful filmmaker. Uh so are there any similarities between the two films?

[00:10:29]uh there's only one similarity it's not connected at all but thematically the both the movies are about success >> okay >> and I have I have always even while writing Mugoduni I had this uh idea of making three movies about success >> okay >> uh the first one is being mundi and I have like two other ideas about success and the second idea is Bollywood times >> okay >> so it's like a trilogy on success >> on success yes this I had planned even before the release of Mundi while we were like in the final stages of uh the um writing of Muganuni, I had this plan.

[00:11:02]Okay, this is one particular angle or or one particular character's journey and I should I think explore two other variations to this.

[00:11:11]>> Okay.

[00:11:11]>> And uh make it a trilogy of sorts.

[00:11:14]>> What is the variation here?

[00:11:16]>> I I I think you should find it out.

[00:11:17]>> Okay. So, you can't tell that.

[00:11:18]>> Yeah. Yeah. It would be a spoiler. No.

[00:11:20]Uh >> so Bollywood Mollywood times is like a hate letter to Malam cinema. It's not it's let's just hate letter to cinema.

[00:11:29]Not >> it's a hate letter to cinema. Okay. So what does this is this movie autobiographical in any way? What is it?

[00:11:36]>> Uh it's not autobiographical. I think it would be I think it would be very um idiotic of me to actually make an autobiography or something because I don't think anybody's interested in my story or my life.

[00:11:47]>> I meant are there things from your life that are >> 100% 100% because it's a filmmaker's journey. So uh the story is fiction.

[00:11:55]>> The story is fictional. Everything is fiction but uh the since it's a filmmaker's journey we we actually uh started adding uh elements from our lives >> right yeah >> like what is one element from your life that found its way into this film >> without being too spoilery >> I don't know I I think a lot of it like I don't know I actually don't know I I can't I can't I don't know if I should reveal it Okay.

[00:12:26]>> Yeah.

[00:12:26]>> Oh, you don't want to tell?

[00:12:27]>> Yeah. I wanted to be a uh uh in the initial stages of my uh journey, I think I wanted to be a I wanted to win an Oscar. So, uh yeah, probably that element has come uh in the promos or something. I've actually revealed a promo where this guy wants to be an Oscar winning filmmaker.

[00:12:44]>> Yeah. And you still want to win an Oscar?

[00:12:47]>> No, I've never thought about it after that.

[00:12:48]>> Yeah.

[00:12:48]>> No, nowadays I don't think about it also.

[00:12:51]>> Yeah. It's because you don't value the Oscar anymore.

[00:12:53]>> No, it's not like that. It's just that my thought has like so many other things have to be sorted. So Oscar is the last >> is the very last thing.

[00:13:00]>> Last thing. Yeah.

[00:13:01]>> Now the writer is Ramu Sunil. He has one more credit on IMDb. How do you choose somebody to write with? Because how do you determine the sync of this writer is going to be right for me? How do you determine that?

[00:13:15]>> No, Rau has been my he's like my brother. Uh he's always uh he's my super junior in college. Okay.

[00:13:21]>> So, ever since college, I know him.

[00:13:22]>> Okay. So uh I when I edited my first Tamar film um Rau was the assistant director in that film.

[00:13:30]>> Okay.

[00:13:31]>> So we had a journey.

[00:13:32]>> This is the vari.

[00:13:33]>> Yes.

[00:13:33]>> So he was an ad in that film.

[00:13:35]>> Okay.

[00:13:35]>> And uh we had a journey. We after a point we had different journeys. We never saw each other for a long time.

[00:13:43]But when we uh after muguni associates when we saw each other to when we met u um we started discussing story ideas and all that and we started discussing about our journey in the movie business >> and that's that's when we arrived on this uh plot.

[00:13:58]>> Okay. Okay. Now can you tell me as a director one you said that the the film at the end of Mukuni Associates is when you said okay this is me as a filmmaker. Can you tell me one passage or one scene that you're especially proud of directing >> in Modern? Yes.

[00:14:18]>> Um I don't think I'm I've thought about it because um >> when you saw it was there something that made me say ah I'm glad I did that or oh that's come out very nicely something like that.

[00:14:31]>> I I think most of it is uh most of what I'm proud of in the film it's all in the post-production. I don't think I've uh I'm proud of anything. I'm I don't think I've thought about it. That's the reality. Uh >> but if you think about it now, if I give you 2 minutes, what will you say?

[00:14:45]>> No, >> let me just think maybe the performances, maybe the way I directed Vinatasan and how I um how I actually brought out the character.

[00:14:58]>> Yeah.

[00:14:58]>> Yeah. I am I'm very proud of that. Now both Vinit and Nuslen who's here uh they're both uh they give off a slightly power vibe. No, that's that's like not a that's the vibe that they give off. They can of course play a big range of characters, but the vibe they give off is I'm sweet, I'm good-hearted, I'm innocent, whatever it is. So to cast Venit in that character, that itself was a big leap for you and that's what made the movie very interesting, right? what is the logic for you to cast uh Vinit in Moanuni and Nuslain in uh Mollywood times?

[00:15:35]>> So in order to cast a an actor I think I uh initially have to like him a lot. I I initially have to be really obsessed with him. For example, in in Nasin's case uh it was during the dubbing of Moderni Associates that uh I went for I was in Chennai during that time. The dub happened here. So um uh in between I went for a movie called Joe and Joe that released in 2022 and um that's when I saw Nasin's performance. I I really loved him in the movie and I thought he can be a lead actor. I mean he was not doing the lead role in that film but I I felt like you know I should make a film with him >> and immediately after the uh movie I came out of the movie and I called Vimmel. Vimmel was the co-riter of Mugoduni Associates not Rau Vimmel and I called Vimmel and we were discussing a couple of ideas back then and I asked him like is there any possibility that you know we can work something for Nasin because I think I want to work with him and that's when I initially thought of working with him >> and then in 2023 I met Rau and 2023 March April we started discussing about this project and finally when we finished uh discussing and you know got a proper one line ready or the the story ready. Uh we had Nasin in mind and I wanted to of course work with Nasin and uh so I didn't want to wait too long. So even before writing the script I called up Nasin and asked listen I want to work with you and I have a story for you in mind. If you're willing to work with me I will work on the screenplay and only if you like the screenplay you can say yes to it.

[00:17:07]>> Okay but do you want to work with me or not? And he said please go ahead. I would love to work and that's when I started writing Mollywood times with Rau and uh once we finished the first half of the film uh I went and narrated it to Naslin and he really loved it and he said instantly said yes and then that's how we >> announced the film announced and then we finished the second half and then >> Right. So are there other films that that you've written with certain actors in mind?

[00:17:35]Uh no, I have a couple of ideas like uh I don't know if it's too early to reveal.

[00:17:42]>> Okay.

[00:17:43]>> Um yeah, I have an idea for uh Pritaraj.

[00:17:47]>> I really I was a huge fan of uh him while growing up. So I always wanted to work with him. So I have an idea for him but I haven't developed anything.

[00:17:54]>> Okay.

[00:17:55]>> And I have an idea for Nin also. So but we haven't these are all things that uh I'm thinking about. It's not something that is solid or developed.

[00:18:03]>> Yeah. It's it's all like things that are floating around. Yeah.

[00:18:07]>> So, uh as I told you earlier because of the uh I I need to get I need to like an actor or be obsessed with an actor. Uh so, uh and it it has always been like that for me because in 2015 way back before uh I made my first movie and all that. I had written a script for Van Khan and he doesn't know about my existence. He he has no idea that I've written something for him. uh but I used to be obsessed with him and I wanted to work with him and I wrote a script for him but uh uh no point discussing that now but uh this is how I think I make a movie as in like I need to be obsessed with an actor or I I need to really like an actor and I generally like to work on character- based stories right as in I like to work on character studies or character dramas so these are my uh this is my favorite genre I don't know if I'll ever make a plot-driven film because I always think of stories that the only the lead character will lead all throughout the film.

[00:19:02]>> So how did you cast Vinit in uh because again he's not the most obvious person to cast in a very very morally dark person. Um when I initially thought about the film I had Polly in mind. Uh I I was again uh in love with him as in like as an as a performer or as an actor. I would love to see him. I used to love seeing him on screen. um especially after Bangalore days I was think I was I was thinking of working with him and I I was hoping I would work with him and that's when I uh started developing uh Mukatoni for him uh yeah and but it didn't work out and finally Minatan uh said yes to the film so it didn't it I don't think I planned it it just came >> it was unplanned but I think that image change was nice because >> it was definitely nice even while uh even while working on the script we thought about it we thought about V that would be nice in this we actually had a thought about it but we never went deep into it because um again I I had this thing for n at that point of I need to work with him and I want to make a film with him. I have this obsession for actors as I told you earlier >> but that's a good director you have to be obsessed with actors.

[00:20:11]>> Yeah. Yeah. Yeah. So that's how it that's how it turned but it just happened that Minatan came and did the film.

[00:20:17]>> Uh now Mukuni has this line saying that human beings are mostly gray except in some cases they are just black. Right?

[00:20:24]That's the character. Now, Mollywood Times has this line that those who believe in the myth of a beautiful and fragrant life should not watch this movie. Uh I mean obviously you're kind of exaggerating there but what is Abhinav Sundar Nay's worldview? Are you a cynical guy? Are you a you know what is how do you are you are you No, I'm not a cynical person. I actually um uh uh I just have a very realistic worldview of life as in uh I just don't like romanticizing things too much. Uh the only reason I put a hate letter to cinema in Bollywood times uh first announcements announcement was only because I didn't want to give give out a feeling that people are going to want people I I I personally feel like people are tired of uh the love letters to cinema because there's so many movies that came out, right? So I feel like people are ready for something more um something more real.

[00:21:23]>> Are you exploring the underside of cinema so to speak?

[00:21:26]>> No. No. This is a very this is a coming of age film textbook coming of age film about a character from character's journey from his uh small childhood days to adulthood. So it's a coming of age film. It's a very soft film compared to Mugoduni Associates. There's no uh violence or anything of that's all.

[00:21:46]>> There are no snakes.

[00:21:47]>> There are no snakes, nothing. It's a coming of age film about a normal guy from Koutigan.

[00:21:52]>> So, so yeah. What was your question? I >> No, I just said what is your worldview?

[00:21:57]>> Huh? Worldview I think it was clear in Mugundi, right? Like I just I think it'll be more clear in Bollywood times.

[00:22:04]I don't want to uh verbally tell it.

[00:22:07]>> Right. Okay. I fair enough. I I just wanted to say because Mukundoni was I liked Mukundoni so much so much because you know sometimes we live in this Instagram world where you know we we keep hearing things like the universe will make this happen and you know tomorrow the sun will rise and it's blue and it's like you know all those all those little uh motivational quotes you know and sometimes people take that a little too much to heart whereas I feel that what I saw in Mukani was a very realistic take of what it takes to succeed. Sometimes I'm not saying everybody should do that, but sometimes this is what it takes to succeed.

[00:22:48]>> It takes ruthlessness, ambition, selfishness, a kind of vindictive nature. All these things put together can help you succeed. Ironically, in the in a we we believe in a moral sense of the world where we think that if you do good, good will happen to you. If you do bad, bad will happen to you. But this is the opposite. You do bad and good will happen to you. And I >> No, I didn't say that. I didn't say that you do bad and good will happen to you.

[00:23:12]But can you Yeah. Yeah. There's no there's no morality when it comes to >> Yeah.

[00:23:18]>> Uh the things happening to you is what I felt.

[00:23:21]>> Yeah.

[00:23:21]>> Yeah.

[00:23:22]>> And I thought that was very interesting because that's I I mean it's not like a takeaway or a lesson or something like that, but that's an interesting journey because you're following a character.

[00:23:30]Like you said, you like character-driven movies. So I'm very curious to see what you do with the character of uh Nuslen in Yeah.

[00:23:37]>> Uh yeah. I hope you like the >> the journey of the character.

[00:23:41]>> Journey of the character. Yeah.

[00:23:42]>> Now uh in upna Friday the song that you released that wonderful disco type song that you released. Uh there's a part where Naslin shoots the audience that's having smartphones and other things that that's out there. Right. So if Mukadanu is black, what color is uh Nasin?

[00:24:01]Nasin is um he's a very he's a normal kid.

[00:24:07]>> Okay. He's not even gray shaded or something.

[00:24:09]>> No, he's a normal kid.

[00:24:11]>> Positive optimist.

[00:24:12]>> Optimistic person.

[00:24:13]>> Yeah.

[00:24:13]>> Yeah.

[00:24:14]>> Okay. So, we'll have to see the movie to know what that shooting incident is all about.

[00:24:18]>> No, that's just part of the song.

[00:24:20]>> Yeah.

[00:24:20]>> Just >> and I I think a lot of cinnaphiles actually commented there saying that this is exactly >> they would connect to it. Yeah. I think I kept that only because you know I connect to it. I want I I have felt like you know why are they why are people talking in the movies and they should actually uh if they have to speak on phone they should actually go out and speak right >> so that's something that I always felt annoyed about and I felt like representing that in through visuals >> you know that's very funny and I've told this before uh there was this uh >> uh you know when when people say that let's hang out let's go to a movie I've never understood that because I was like if I'm going to a movie I'm going to watch the movie I don't want to talk like why Why are we hanging out? If I want to hang out, let's go to a restaurant or somewhere where we can actually see each other and and have a conversation, right? The other very funny thing is Steven made this fantastic film called Bridge of Spies.

[00:25:11]Uh and it was released and a bunch of kids came and sat in front of me and they thought Spies so it was going to be like a James Bond kind of movie. This is like a cold war uh kind of movie and it's a kind of a slowishbased movie. So they were all like the whole entire discussion was about uh why have we come to this movie this is not about spy should we leave should we not leave this that and I just finally had to tell them listen if this is a question I'll pay you money your ticket money back please leave true >> this is what you and that feeling was there exactly >> but after and I've also thought about this but when I think about it from a very larger point of view uh most people don't care >> they don't care >> they don't care because they are >> in fact if they see if they hear this discussion They'll be like, "Oh, you guys are being pretentious or something like that."

[00:25:58]>> Yeah. So, it's okay. It's okay that I don't.

[00:26:03]>> So, you began your career as an editor.

[00:26:08]>> Which are some of the course every film teaches you something, but if you were to pick a few films that really taught you a lot about cinema, >> what would they be?

[00:26:16]>> Uh, the ones that you have edited. I have edited uh um everything has taught me something uh the Tamil film uh has taught me a lot about uh how to create effects uh I mean how to create shock uh the yeah how to the edit was a lot uh lot more challenging than I thought >> okay >> so and and there's a lot of input from Vijay >> okay >> the director So it helped me understand oh this is how you create shock. Okay this is how this is how you cut to create shock. So I learned a lot from that film and also uh I think the most learning uh that I still carry is from a very small work that I did initially in my career. Uh it was a trailer of TRA.

[00:27:09]>> Okay.

[00:27:10]>> Uh it was vinasan film. I was the ad in the film and he gave me an opportunity to edit the trailer. And I was editing with a particular song and then uh Vinatan told me listen Abi Ashan will send you uh the stems of the song. I asked him what are stems? He said uh it's the song but it it'll have different layers as in rhythm will be in one layer uh strings will be in another layer, vocals will be in another layer.

[00:27:39]So uh different there'll be like eight layers or nine layers and I I never heard of it before. I was very young. Um so he sent me the stems and he asked me you can edit with this you'll do really good job if you edit with stems there'll be like you can mute vocal whenever you want to mute you can mute certain other instruments you don't like and all that and that's how I learned about editing a movie with music >> so uh we need probably taught and I still edit movies with uh stems as in even Jake sent me sent me all the background scores of Mollywood times with stems so that I could edit Uh so that is a learning I still carry. Uh I think he taught me that.

[00:28:19]>> Yeah. So when you edit a trailer versus when you edit a film, is is the editing process is obviously the same because you know the cutting and all that kind of stuff, but is there a a sensibility that's a little different in a trailer composed as opposed to a movie?

[00:28:36]>> Uh uh trailer editing is more of uh creating uh uh a moment.

[00:28:44]>> Yeah. Uh it's it's more or less like create uh editing a music video or not music video. Um it it needs to create an escalation.

[00:28:55]>> Yeah.

[00:28:55]>> So it's all about creating escal it's like uh when editing Instagram reels probably I don't know it's it's a little similar to that I think.

[00:29:03]>> Yeah.

[00:29:03]>> Uh you need to create high moments after high moments. So that's how you edit trailers and in movies it's more about uh making the drama work and following the character and all those. So I think this is the difference.

[00:29:15]>> Okay. Because I was I was also thinking that most movies the trailers have become very boring affairs because they just show soft moment soft moment soft moment then there's one dramatic turn and then the music starts escalating and then the thing and then it all explodes and you know the title comes and I'm like that pattern has become a little boring. I find that uh I don't know what >> yeah there is a template uh the template trailers are really boring that I agree.

[00:29:43]uh um when when you see certain trailers, you understand that that trailer is not done with a template in mind. For example, I was really uh um the the trailer of animal was really good.

[00:29:54]>> Yeah.

[00:29:54]>> Uh I felt like it it >> where they're talking about the dad. Is that the trailer?

[00:29:58]>> No, the entire thing it ended with uh the music the music they used was the the music they used in the final climax fight scene. Uh >> but is it the one where Rashmika and Ranir are walking and >> No, no, that's the teaser. I think >> that's a teaser. Okay.

[00:30:12]>> Yeah. the I really like the trailer of animal. So there are certain standout trailers that I feel like they've done without using the template. Probably they they've used they actually these trailers make you feel something.

[00:30:23]>> Yeah.

[00:30:23]>> So I was excited to watch uh the film after watching the trailer.

[00:30:26]>> Yeah. Because I saw the trailer of Christopher Nolan's Odyssey that landed maybe yesterday or the day before and I was like this is a template trailer.

[00:30:34]This is pure template and >> I did not watch it.

[00:30:36]>> Okay. No. So then I felt that maybe the they're kind of hiding all the the good stuff for the movie and they want the the initial marketing materials to just kind of >> push some of the >> maybe it's that we never know because a lot of are taken with a lot of planning in mind. So we don't know what they are actually planning. Sometimes they do sometime sometimes in this industry they do these kind of things like let's not give too much let's underplay it >> so that people will be more surprised when they see the movie. Yeah.

[00:31:07]>> So I think people do that.

[00:31:08]>> Yeah. And >> I remember Dishian trailer was like that.

[00:31:11]>> They completely underplayed and gave it a very family film kind of vibe and then everyone was shocked in the theater.

[00:31:17]Yeah.

[00:31:18]>> So >> if you were to edit, I know this is an unfair question because Mahesh Narin is also an editor, but how would you edit the trailer of Patriot so that it gives you the feeling that this is a movie with Mammudi, but Moinal is playing a a smaller part of the movie? Is it possible to do that?

[00:31:38]>> I don't know. I I I honestly don't know.

[00:31:40]Uh I don't think it's a the right thing for me to even answer that question because Mahishna as an editor I respect.

[00:31:47]Yeah, I respect him too. But what I'm trying to say is that one of one of the things about uh uh trailers is that I'm not putting you on on a spot. I'm genuinely interested in knowing this because >> one of the things that trailer are supposed to do are like give a certain narrative to people and one of the things that has happened with Patriot now is that like a lot of you know people seem to be angry with the way uh Mona has been used or whatever it is and I thought it was fairly clear from the trailer that this is Mamoti's film. So I was like where is the communication going wrong? Are people just or is it just fandom playing up? So I was just wondering how you saw it as >> I think it's just expectations. Uh probably uh I I don't think uh there are there is anything particular we can point out.

[00:32:29]>> Yeah.

[00:32:29]>> Uh probably people were expecting something else. Right.

[00:32:32]>> That's about it.

[00:32:33]>> That's about it. Okay.

[00:32:34]>> Yeah. Okay. I don't think I should answer more this because >> No, no, no. can feel like I'm I'm like I said I I personally like the movie a lot and I love Mahesh's editing uh because one of the things that he does is uh I never feel the jerk from scene to scene when the editing happens it like it's almost like even a regular shot reaction shot is so smooth and and kind of a thing who are some of the editors that you have looked up to >> I have definitely looked up to Mahesh Naran uh in my growing days I think I really loved the editing of C Musa so Ranjan Ibraham's work I really liked >> when you were growing up at that formative age. What what do you what made you say that this is editing and this is not?

[00:33:15]>> I didn't say that. Uh um I used to comment about editing during my at that stage. I was way too young for that.

[00:33:22]>> But I used to love C Musa and then once I started becoming an aspire I once I started getting into the aspiring filmmaker stage that's when I realized okay this is so well edited.

[00:33:32]>> Yeah. So like what I'm saying are you saying the way the scenes are like going into each other >> the pace uh he has used to it's it's a slapstick comedy and can go wrong anytime. It's a very dangerous genre.

[00:33:45]It's not easy to uh make a slapstick humor film. I think I think they've done a really good job >> of cutting >> of of cutting it.

[00:33:53]>> It's as simple as that. It's very tough.

[00:33:55]And among the the foreign editors >> foreign editors u um I like who who are the editors of social network.

[00:34:06]>> Okay I know who >> yeah yeah >> social network was a very good uh film as in the editing was really good. Uh yeah and of course SC movies. Yeah, that's like a legend thing right now by now the you know how they move literally like like move like a but that's also the one thing is he also shoots in that way that they can be edited like that later right do you shoot in a way that uh keeping the editing in mind because you as an having the mind of an editor when you shoot a scene uh does your mind automatically says listen I'm going to cut there so I don't need this coverage I can actually go there do you do the >> sometimes I do >> but u if I get time I actually take coverage >> okay >> because I realize that you know a lot of things can go wrong in our judgment >> okay >> uh I don't completely always uh take my judgment for the the final thing because even if I feel very confident about certain things I would still have an option >> so that if something goes wrong or if I am wrong maybe if I'm I you never know when I'm shooting I'll have a particular uh mindset and when I'm editing I'll change the mindset I by that time I would have changed or I my thought process would have changed slightly and I would have thought okay this is not how it should be done and this is how it should be done so if I need to move from this to this >> I need option so I always keep it very uh open I don't like to fix something I like to keep working and you know there should be an opening for an improvement >> okay okay >> how did your first editing job which is why Pes by Balajim moan and the malam version. How did that happen?

[00:35:47]>> Uh I think Balaji moan sir he he actually we used to follow each other on social media and all that and he really liked my work as a I I had done short films before that. So I think because of that he called me.

[00:36:00]>> Okay. Did I tell you what specific aspect of editing that he liked? The reason I'm pushing you and the reason I'm asking you these very specific things is because like direction editing is also a slightly mysterious thing because people can recognize a cut for example okay this is where the shot is getting cut and you're moving to that but what is it specific about your editing >> I think I think he liked the way I cut humor >> and also I think he liked the way I cut uh with music >> okay >> yeah the the rhythm >> the rhythm and later you got that the one with stems and all that >> yeah this was before like I realized the stems thing in 2013 >> and Baraji moan called me 2014. Yeah almost the same time but >> yeah so that helped you get your >> in a way your first job the trailer >> and other things >> also maybe because of that. Yeah. Yeah.

[00:36:49]Okay.

[00:36:49]>> No, but I got an offer before Thra.

[00:36:51]>> Okay.

[00:36:52]>> Yeah. Before before Thra trailer was uh launched. Uh Balajimon had actually called.

[00:36:57]>> Right. Right.

[00:36:58]>> So he saw my short films.

[00:36:59]>> Naslan and Bollywood Times wants to become a director. What did Aino Sunda Nayak want to become?

[00:37:05]>> A director.

[00:37:06]>> Yeah. So why how did the editing thing come in?

[00:37:09]>> Uh I used to edit my own short films when I made my first short film when I was 15. So ever since then I and of course on the time we we don't have uh technicians as in like we can't hire anyone but kids.

[00:37:21]>> So I I downloaded uh a software called ULED ULED video maker or something of that sort >> and I I had a mini DV tape camera and we captured it through the uh USB cable and all that and that's how I edited it.

[00:37:36]That's that's how I started. I think the first editing reference that I had was uh company jump cuts.

[00:37:42]>> Okay. So that was >> Ramopra. Okay, >> Ram Gopas company was my first opening to oh this is editing.

[00:37:49]>> Okay.

[00:37:50]>> So this jump cuts thing was something that I first found out in company.

[00:37:54]>> Okay.

[00:37:54]>> And I try to replicate those jump cuts in my first short film.

[00:37:57]>> Yeah.

[00:37:58]>> And but the thing is that's that's because you you're making a short film.

[00:38:02]You're the editor and the director. But it took you a long time to come to Mukani Associates which is your first film as director. No, I I wrote my first uh feature film script when I was 23, 24, 23, >> but it never happened.

[00:38:15]>> Okay. So, you became an editor because it was taking time for >> Yeah. Not not just because of that. I just went with the flow because if someone a good filmmaker calls me, why should I say no?

[00:38:25]>> Yeah.

[00:38:25]>> Uh I should just go and work with him.

[00:38:27]That was my I I didn't have any fixed plan. Uh he called me so I went and edited.

[00:38:32]>> But what about the films that you edit after you became a filmmaker? Now you still take up the odd assignment of editing.

[00:38:39]>> I start I had initially started but I don't think I will from now on. Yeah.

[00:38:44]>> But what was the logic? Is it like again let's not get rusty like that?

[00:38:48]>> Uh yeah also because um yeah definitely it's because I wanted to probably uh work with other people and know more perspectives about how people think and people other people think and uh how they execute a scene. It's very interesting to learn. Yeah. With when you work with others, you learn a lot of things. Yeah.

[00:39:07]>> So that was also one thing and also I make I end up taking so much time in writing a script. Even if I am write not writing, I developed the script from the scratch. It's like Rau sat in my house for 2 years. So he was staying staying with me and uh he literally saw my uh daughter grow up for like 2 years. So uh we we we stayed together and then we wrote and all that and u it takes a lot of time and and this time uh probably does not pay you as in like uh it takes a lot of time and I should uh I thought I should actually uh take up assignments that would actually uh compensate for that.

[00:39:46]>> Yeah.

[00:39:46]>> Yeah.

[00:39:47]>> But don't you think that by giving up editing now you're saying that now I probably won't do that?

[00:39:52]>> Yeah. Because I the thing is like I've realized that I I'm I'm someone who enjoys control >> okay >> over the material that I work on. Uh when I edit a film the control is not with me even if I'm a director the control is with uh the other filmmaker.

[00:40:06]So uh the the final decisions are not mine.

[00:40:09]>> So if I I I don't think I should uh edit films unless and until I get the final call. So for that I need to make my own movies. But don't you think you're losing out on the educational aspect that you just talked about because everybody sees scenes a different way.

[00:40:22]Everybody shoots a different way and you will be very privileged because you get to see >> how the scene was shot which the audience doesn't see right because we only see how the scene is complete now >> because of the editing. You see the barebones of the >> uh the various cuts, the various staging and all that. So isn't that a directorial education?

[00:40:41]>> It definitely is. But maybe I should uh stick to working with people I really uh know or my friends probably because uh when you work with people who are not like very close to you, they'll have a completely different point of view >> and I am not like uh I'm in a stage where I have like a fixed mindset and all that. So certain things um the other the other person may not be in sync with me. So, and since I am a control freak, that also adds up to my stress. Uh, when some when I when I see a film that I've edited that uh is was not in my control and the work may not be satisfactory to me >> and my name is still there in the film.

[00:41:21]Uh that gives me a lot of stress. Uh I can't talk I can't tell I can't shout to the world that oh no this was not my decision.

[00:41:28]>> This decision is not mine.

[00:41:29]>> This is this is not mine. That's a very childish thing to do. So but but it actually gives me stress.

[00:41:35]>> It gives me a lot of stress to see a film that uh is not something that I approve >> in with my name in it. So for that I don't think I should take up editing projects that uh from filmmakers who I'm not very close to.

[00:41:49]>> Right. So you've edited Basil's Goda his first film.

[00:41:55]>> Second film that is >> Goa second. Yeah. Second film. Kung Raman was the first film.

[00:41:58]>> I edited the trailer of Kuna.

[00:42:00]>> Okay. And uh you edited uh Nitilan's Kurungab which is one of my I just love that movie. I think it's an amazing film. Uh now given the success that they've had now were you able to sense at that time that these are really directors with potential?

[00:42:16]>> Yeah of course it's like shown in the work right so I never thought too much about it but while working with them we understand these people are very talented. So 100% it's something especially Basil I knew I knew for a fact that you know he's a showman. Uh, showman in what way?

[00:42:31]>> Uh, showman as in like someone who would just shine as in like he has a he always used to be entertaining. Even when we were working together, uh, he would crack jokes and he we would just automatically laugh.

[00:42:42]>> Okay.

[00:42:43]>> And it's it's fun to be with him. It's it's basically such people are very rare. You you he's just a fun person.

[00:42:51]>> Yeah.

[00:42:51]>> So that will be shown everywhere. So rare because the film is a serious work as in the film is he's not but the thing is he's not treating it >> not just about no not just about movies movie business I'm talking about uh the kind of person the kind of um spontaneity with which he just goes around with life >> it's fun it's fun to actually see him or witness him >> yeah actually I I I envy spontaneous people a lot because I try to kind of >> I can't be I can't be spontaneous is bland. I'm the kind of >> I am that way.

[00:43:25]>> Yeah. So I I'm the kind of guy who kind of when I wake up in the morning, I need to kind of have a rough idea of how the day is going to go. True. I can't just like >> No, he No, he's not that kind of person.

[00:43:34]I mean, he's very well planned and all that. He just shows as if he's very spontaneous. He's a very well planned person. I mean, he he actually has a timet for everything. Basil is very uh in in in his film making, in his work, he's very disciplined.

[00:43:47]>> Uh but in his life, he's very that's a very hard thing to do.

[00:43:50]>> Yeah. to to balance both it's very hard I don't think I can do that but Basil is doing it wonderfully >> what did Kurango Bome teach you because that's a again a genre film but with a lot of existential overtones >> uh like it's kind of a you know how did that uh again it didn't as in like it didn't teach me teach me anything but I could understand uh another filmmaker and how he would approach things and and how again it's it Nitril was more more of a person who would who who who wants to bring out an emotion along with shock >> as in like he depends he he is very particular about okay and the person should feel this way and and he would he he's very in the sense he's he explains it so uh passionate ely that I could I I could understand this is something that he's very particular about. So there are every filmmaker will have Basil has a Basil is very particular about humor.

[00:44:59]>> Yeah.

[00:45:00]>> Nellan was more particular about shock.

[00:45:02]>> So every filmmaker has their own particular things that they are very okay. This is what they're passionate about or what they care about.

[00:45:11]>> NL I think cares about shock and the emotion along with shock the Yeah.

[00:45:16]>> Yeah.

[00:45:16]>> I don't know if I've explained it correctly. You've explained it well because I'm able to when I saw that you had edited Kuranga Bumay I was able to kind of draw some invisible lines to Muganuni Associates because kind of that's also not exactly the same genre but that there's a kind of a a darkness that that both these worlds inhabit. So I mean I'm not saying that you were inspired or something like that but sometimes you know without us knowing some some little bit of influence or whatever.

[00:45:44]>> I'm sure they'll be there everywhere >> when now when you mentioned Basil I have to ask you this question but there is a little bit in uh Modern Associates where Basil Joseph sends him sends him a message. Did you just put that in for fun or >> Yeah, it was just in post-prouction uh it happened.

[00:45:59]>> Okay. Again an editing decision. Okay.

[00:46:00]>> It was just uh it was another client actually messaging him. Okay.

[00:46:04]>> But I changed it into Basil. Okay, that client became basic. You're just kind of a fun thing.

[00:46:09]>> That's about it.

[00:46:09]>> Why? Why? Both uh Moani Associates and Bollywood Times have two editors. One is you and one is another editor, right?

[00:46:17]Yeah. So, how does this help?

[00:46:19]>> Uh I am I I I know that I'm good at certain things.

[00:46:23]>> Okay.

[00:46:23]>> And uh I'm weak in certain areas. So, Nidin is good in certain areas that I'm weak in. So I think he correctly uh manages that as in like um I would uh edit a particular thing and I would ask him this area please work and then he would edit and he will bring me his version.

[00:46:43]>> Okay.

[00:46:44]>> So I know that he would do that better than me.

[00:46:46]>> Like what are your perceived weaknesses which you >> I think I'm very weak these days. I I don't I don't I won't say it's weakness.

[00:46:53]I used to be good at it before. Uh I used to be good at editing trailers before and uh montages before but these days I'm like losing interest in trailers and montages and all that. So Nidan is still good at it. He's I think when I give him a sequence to edit he will do it well. And uh um not just that I trust him. He's actually very uh he's been with me since my since 2016. He was my assistant editor before. Now he's become an independent editor. He's done some really good work other than Mugoduni and all that he's done really good work independently. So I trust him in first place. Second thing it's comfortable when you work with someone you actually been with for a long time like uh he understands what I want and if I just tell him this is what I want.

[00:47:39]I don't even have to explain it too much.

[00:47:41]>> He will just do it.

[00:47:43]>> But is it also a is it also that that when you make a movie you've written the movie. So movie is made in on like at three levels right first during the writing second time during the shooting and third time during the editing right so because you've written the movie or co-written the movie because >> in Bollywood times I did not write I just developed it >> but you developed it right you've been involved in the writing of the movie every director is right so and then you've shot the movie that is you've directed the movie you is there also the fact that sometimes having an outside eye would help the film because you've been so involved with with this throughout that you may sometimes you might lose a little objectivity.

[00:48:20]>> 100%. Nin would uh tell me when I'm just losing it.

[00:48:25]>> Okay.

[00:48:25]>> Like when I keep on getting obsessed over unnecessary things, he would tell me this is not needed and then I would yeah you are right.

[00:48:33]>> Okay.

[00:48:33]>> I would tell him yeah that's what so he's actually someone who grounds me while working. He will tell me honestly whatever is wrong. So I and I and I uh trust his instincts.

[00:48:44]>> Yeah. M.

[00:48:44]>> So what are the the the things when you the coverage that happens when you are an editor? How much do you end up chopping away? Is it a very minimal amount?

[00:48:57]>> In Mollywood times we chopped a little uh higher than Mugodoni. Okay. Because I >> that was a tighter film.

[00:49:04]>> Moderni was a tighter film because it was it had a uh it it was not an emotional film.

[00:49:10]>> Okay.

[00:49:10]>> There was no emotion involved in Mugodoni. So it was a very uh cold film.

[00:49:15]Volu Times on the other hand has uh basic human emotions involved and for that to work I shot a little more than I should.

[00:49:24]>> Yeah.

[00:49:24]>> Not too much. Not in a way that would hamper the producers but I did some extra coverage and I took a little more extra so that I don't take risk on not delivering the emotions.

[00:49:35]>> Yeah. Yeah. Yeah.

[00:49:36]>> Yeah.

[00:49:37]>> And some of that you you later removed because it felt like spoon feeding or something.

[00:49:41]>> Exactly. Okay.

[00:49:41]>> Exactly.

[00:49:42]>> We talked about your editing outside jobs. Uh I saw your name announced as the editor of Odungutra Chadunra but at the end it was not your name on it. What was your role in that? Can you tell us or >> No, it was I I I would I would have loved to do that film. Uh the problem was uh it clashed with Bollywood Times.

[00:50:04]>> Okay. So we were supposed to shoot Moollywood Times a little later but uh since the movie got prepped it clashed with the post-production of Odugra.

[00:50:13]Okay.

[00:50:13]>> So I could not.

[00:50:14]>> So you kind of started and then gave it up. Is it >> uh in very little not not too much because uh the shoot of Odugra was delayed so everything just got uh >> Yeah.

[00:50:25]>> I I I kind of was hoping that you'd edited some of it because uh I wanted to have a little chat about how you saw the film because I saw the film. It didn't land for me completely but I thought it was a very interesting film and I think that is what is like see whether we like a film or not that's one thing that's a that's a different reaction right but I thought they were trying something very bizarre and unique and very interesting uh in that film and I and I thought maybe if you'd edited it I thought I I could have a chat with you about that >> I I just saw the initial footage but after that I never got involved got into the I was busy with Bollywood times and everything just got clash I some things don't h Not everything goes by plan in the industry. Everything just >> when you I I thought initially okay I would edit Odum Mudra and then Mollywood times would start and I was having a proper plan in my head. Nothing worked out.

[00:51:15]>> When you're a control freak and when you are like a guy who plans everything and when things don't go according to plan what happens to you? Do you kind of lose it? Do you uh do you need some time in a room just to kind of scream? What how do you handle it?

[00:51:30]>> Um Uh I probably Yeah. I I vent it out to my closest friends or my partner.

[00:51:40]>> That's your way of handling it. Okay.

[00:51:42]And then it just goes away.

[00:51:43]>> Yes.

[00:51:43]>> Okay. Yeah. After this long stint as an editor when you're when you finally have Moani, how hard was it to mount the film? Because I'm asking this question on behalf of uh many filmmakers who are first- time filmmakers and who are trying to mount their first film. find a producer uh find an actor do all those things. How difficult was it to mount uh Mugodoni?

[00:52:11]>> Uh Mugoduni uh the getting the producer on board was simple because uh initially another producer was on board. Uh I wouldn't like to disclose the name but uh it was about it was u a producer of one of my one of the films that I edited.

[00:52:26]>> Okay. So uh since uh so he trusted me.

[00:52:31]So getting a producer was like a little more simpler for me because as an editor my work was fine and people in the industry trusted me. But getting an actor on board was really tough for me because uh I'm not good at socializing and I'm not good at befriending people and and uh talking to people just to develop a contact. I'm really bad at that. I'm I still am really bad at that.

[00:52:53]I I don't keep in touch with anyone. uh and I don't do it deliberately. It's just that whatever happens organically I just let it happen and I don't uh calculate uh my connections or calculate my relationships. Uh I just let it freely uh even my relationship with Vinasa Vinatan um when we were working when I was working as an ad with Vinatan we were not like really close because I never I never saw it that way. We not we were not close but we eventually became close and that closeness came very organically. I did not calculate that closeness but now we I he's like my elder brother but it gradually happened.

[00:53:35]Uh uh so for me relationships are not something that I can calculate and build.

[00:53:40]>> Uh it has to happen organically and for me everything builds very slow. I can't build quick uh quick quick closeness with anyone. I I I'll have to it'll take time for me to build a good relation or a good friendship with someone >> and that is why casting was a >> yeah casting was a major issue because um uh I think the industry works based on friendships uh people uh people are available for their friends and for me uh developing a friendship uh is very hard and I'm generally very uh I don't go out too much.

[00:54:15]>> Yeah. Yeah. So, >> uh you can say you don't want to answer this question if you don't want to. But what is one movie that you really liked in recent times and said, "Shit, I wish I had edited that." No. I mean, not that you replace the thing, but sometimes we feel that I wish I'd done that, right?

[00:54:30]Like that.

[00:54:30]>> Uh-huh.

[00:54:33]>> No. No. Uh none of I never thought these days I don't think about editing too much.

[00:54:38]>> Okay.

[00:54:39]>> I have I I think I've become a full full-fledged filmmaker. my brain has wired started giving not giving me any thoughts about editing these days. I don't even if even if I watch a film these days I don't talk about editing much >> I mostly talk about writing and direction and all that okay >> but before I was not like that I used to talk about editing I used to talk a lot about uh this cut didn't work or uh land or anything we would we would normally talk about all those details but these days I don't talk about editing at all >> maybe you become a full-time filmmaker >> yeah maybe that mind is like completely changed I think I've transformed into a filmmaker I I really want to make movies >> I don't want to edit Yeah.

[00:55:17]>> Uh I think I'm over it.

[00:55:20]>> So what's a film that you wished you had directed like uh >> uh last year I really loved challenges.

[00:55:30]>> Okay. And I love the way >> and uh Ford versus Ferrari was a couple of years back but uh that was a film that I really admired. 12th Fail was a film that I thought was brilliantly done. Brilliantly. Uh the writing was really good. The writing was really good. A lot of thought was put into it I felt.

[00:55:48]>> And you know that that's the kind of movie.

[00:55:51]>> It's probably the toughest to write because the story is a very template story, right? It's like underdog something something. Exactly.

[00:56:00]>> But when that guy falls on his knees and cries at the end, dude, I was crying.

[00:56:04]>> It's so sincere. The writing is so sincere. I felt every beat of it. I felt like the writers took so much effort in writing the script. It's not just a casual casually written film. I think they've they've actually worked on it >> a lot and I felt I I I could feel that >> and and I and I when I see effort being taken >> uh I just get sold into it. I I want to see effort.

[00:56:28]>> Maybe 12th landed completely. But maybe some some films don't land but when I see effort I'm not talking about effort in shooting. I'm talking about effort in thoughts. So that's what I meant when I said Orurungutra because the film for me didn't land but as an as an audience I was not like like oh I love this movie it didn't happen but I I I when I after I went home or after like a few days I couldn't stop thinking about certain things in the movie you know it's very interesting that's when you realize that that okay maybe you didn't like the film overall or maybe it didn't land or whatever it is but it's not a lazy film and it's not I love those kinds of films you know it's like ultimately if you ask me right now whether you like That film I actually I love that film because it's I love the giant leap of faith that the director took the actors took with him and said let us try this >> story >> which is not a very conventional story at all. let us try this and that some was very touching to me because we live in a world where everybody tries to give an instant success or whatever it is right which is the I'm not saying that it's easy to give a hit but this when people go a like a different way and then land up at something that's very touching to me and uh when you mentioned challenges actually I was I was thinking that there's a movie that's fantastically directed but also fantastically edited because because there's a rhythm to that movie where you h you you cannot help noticing the the the short transitions. True. So that was like you know that was something that was uh very very interesting. So hard work, passion, talent. Mukundoni had these traits. I think these traits are with the >> uh the Nasin character in Mollywood times as well. Are those something like your moto, your mantra? No, it's just a simple way to communicate that someone is uh trying to be successful.

[00:58:26]>> Okay.

[00:58:26]>> So, it's just uh I just used it as a template to communicate that this is also about success. So, I just wanted that to be uh in the promo material. So, I added that onto the uh song.

[00:58:39]>> But you also did you want it to be seen as a as a kind of continuity to move. No let let people watch it as a separate film because I I think if I say that it's a continuation of Mugani Associates and all that they will think it's a sequel >> and that that is going to be very harmful >> and anyway you are planning a sequel to Mulan >> that is a different film altogether.

[00:58:57]Yeah we are planning a sequel.

[00:58:59]>> Yeah but that is going to that's also going to be beneath and hopefully uh going to be vene this this character right. Yeah, we need >> uh finally what what do you think is is your trajectory going to be like you said that you're going to uh not concentrate much on editing and going to film making full-time. So will you be able to now hopefully now obviously everything depends on things falling in place but maybe give us movies at a more frequent uh like out >> I I really want to I I'm hoping to work on uh two or three films at the same time with different writers and all that. I don't know if it'll work out for me because I am a very uh I can do only one thing at a time and I'm very slow in doing things. I'm not uh I know my limitations. I'm not extremely talented but my ambitions are very high. I may not be I may not my talent is not reaching my level of ambition. So I need to work on it with more time that is needed.

[00:59:57]>> Yeah. Maybe my peers would deliver the same output in lesser time. So that is the reason for my for me taking in so much time. So and and yes I want to make more movies and I want to make more entertaining films. uh I want to make films that actually work at the box office and I and audience uh enjoy the film and I I I really I really always had this aspiration to be a successful and uh filmmaker who would make successful films and not uh a filmmaker who would just make niche films and and Mugodundi would be my most niche film ever. I don't think I'll go back to making uh niche uh films. I I really want to make uh bigger films and hopefully more entertaining films.

[01:00:39]>> That's your >> and and Mollywood times is probably the first step towards it.

[01:00:42]>> Okay. Okay. What is the thing that you enjoyed most about making Mollywood Times?

[01:00:47]>> Uh every uh I think the writing process uh and how we finally cracked the script and uh working with Nuslim definitely and uh >> is he an intuitive actor? Is he somebody that tell does what you like you know some people are directors actors they they they read the script they come to you and say how do you see this being performed but then some people have their own version of how the scene is performed and then you both collaborate and get the final output how is that how does that >> no uh we didn't think too much here um uh Nasin there are areas in the script that Naslin can just it's just cakewalk fun form >> so I didn't even think too much when he performed it would be one take >> yeah so and there are areas where I would need something specific >> for that. Naslin would actually understand that and he would tell me ask me what exactly uh do you need here and then I would tell him something and he would just deliver it.

[01:01:44]>> He's a very uh easy actor to work with in every sense. He's approachable. He's like fun to be with and uh he will deliver everything because he's extremely talented, extremely talented person >> and I wish him only the best. I mean, I want him to be the be this huge star, you know, because I love him. I really love him as he's like a brother.

[01:02:07]>> No. And one of the things I like about Naslan a lot is the fact that he has this very endearing guy next door kind of uh attitude at least on screen like like you know how people >> he's the same way.

[01:02:21]>> Yeah. But I'm saying on screen sometimes some you know that's the vibe you get from some some somebody like like for for example some people would look unapproachable on screen some people will give a different vibe on screen for him it's that very nice vibe but within that vibe itself in Alaprajim Kana and other other films he's found quite a range to play within that and that's >> and I'm I'm hoping people would be surprised by Mollywood times as well.

[01:02:47]>> Yes. So I'm looking forward to that and looking forward to seeing how you wrote the film, how you directed Nuselin and other people in the film and uh all the best. Thank you so much sir.

[01:03:02]Satyama Institute of Science and Technology, Chennai and GT Holidays, South India's number one travel brand.