மக்களை Participate பண்ண சொன்னது குத்தமா? | Director PS Vinoth Raj interview | Filmibeat Tamil - video Dailymotion

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Transcript

00:01You take a small note.

00:03How big a note you want to write,

00:05you do it correctly.

00:07I want to make a film with a single event.

00:09I was inspired by such films since I was a kid.

00:13This is the result of that.

00:17A film without music.

00:18Even in the sound effects,

00:19they sell us well.

00:21A film without music,

00:23will be watched by our fans.

00:25Such a thing was coming from outside.

00:29I have never heard of a film without music.

00:32I am very happy till now.

00:34We have made it big in that way.

00:39The fight in the autorickshaw,

00:41is like a continuous single shot.

00:44For this film,

00:46we had to rehearse for 6 and a half months.

00:49That day alone,

00:51we didn't see the crowd.

00:53Many times,

00:55we had to calm down.

00:59I thought,

01:01I should go to the world,

01:03and see what is happening here.

01:05I don't care about my profession.

01:07I don't have any problem.

01:09Why?

01:12Metaphor.

01:13I will take a shot and show it to you.

01:16I don't want to see any stupidity in it.

01:19Tell it in a way that he understands.

01:21Such a debate is coming up.

01:23I don't want to underestimate anyone.

01:26I didn't do it knowingly.

01:28I don't think it is wrong to think about it.

01:35Even a successful film needs a company.

01:38Kottu Kali is a success in that way.

01:42Greetings to everyone in the country,

01:44state and home.

01:46I am Karthik.

01:48Today's guest is,

01:50Kuzhangal and Kottu Kali.

01:52PS Vinothraju is the one

01:54who started both these films.

01:56We have come to meet him.

01:58Let's meet him.

02:00Greetings.

02:02In Tamil cinema,

02:04there is a division between

02:06art film and commercial film.

02:08This division started because,

02:10in the past,

02:12Balu Mahendra sir and K. Balachandra sir

02:14had similar films.

02:16Their films were slightly different

02:18from the art film.

02:20How did you come to know

02:22that these are art films

02:24and these are commercial films?

02:26Can you tell us about that?

02:28Commercial films are...

02:30I don't know.

02:32For me, art films are like a film.

02:34That's all.

02:36That's my pure opinion.

02:38I don't have a second opinion.

02:40It's like a film.

02:42People come to see a film

02:44and say that it's a commercial film.

02:46You can say that about such films.

02:48It's not like that for me.

02:50You can say that a successful film

02:52is a commercial film.

02:54At that time, Kottu Kali was a success.

02:56Now, Kottu Kali is a commercial film.

02:58Everyone is reacting in a funny way.

03:00All the actors are reacting in a funny way.

03:04Like that,

03:06there is a situation

03:08or an occasion

03:10for everyone to come to cinema.

03:12Some people say that

03:14they want to make money

03:16by coming to cinema.

03:18Some say that

03:20they want to make money

03:22by coming to cinema.

03:24Some say that

03:26they want to show their life.

03:28They want to show

03:30that they've seen a lot.

03:32They want to speak about politics.

03:34So, there are a lot of people

03:36who come to cinema to speak about it.

03:38What was the reason for you to come to cinema?

03:40What was the reason for you to come to cinema?

03:42I don't have a reason.

03:44I didn't know that

03:46I would make films like this.

03:48All the films that I've seen

03:50and worked on

03:52are from the Tamil cinema industry.

03:54are from the Tamil cinema industry.

03:56All the films that I've seen

03:58or read

04:00or met

04:02have a lot of power

04:04for a whistleblower.

04:06There are a lot of things

04:08that I can talk about.

04:10I'm trying to do that.

04:12I'm trying to do that.

04:14I don't think

04:16that I'm inventing something new.

04:18This is happening all over the world.

04:20It's happening in Tamil cinema.

04:22I've taken a step in that.

04:24I've taken this stand.

04:26I've taken this stand.

04:28I've taken this stand.

04:30I don't think that

04:32that's the reason

04:34why I came to cinema.

04:36I don't think that that's the reason

04:38why I came to cinema.

04:40I would like to make a film based on that

04:45This is how I wanted to make a film

04:47This is the knowledge I got after coming here

04:52Your films, especially the ones I mentioned earlier, use metaphors

04:59In your film, Koolangalai, every landscape has a metaphor

05:05Even when your father hits your son in the shot,

05:10you will go back to that shot

05:12Even then, the mountain looks like a small mountain

05:15So, you used metaphors in your films

05:18Did you read the script and implement them?

05:22Or did you look at the films and implement them?

05:25Because many people don't know how to use metaphors in writing

05:27They think that the story should be run by humans

05:31How did you come up with the idea of using metaphors and landscapes?

05:35I don't know how to use metaphors

05:37For me, the landscape is important

05:40After that, the characters

05:43So, I take some images and follow them

05:49For example, in Koolangalai,

05:53when her father hits her son,

05:56she will go back to the shot and look at the mountain

06:04I get the image of a son hitting his father

06:10I don't have to think about it

06:14But the shot has to hold

06:17I work in this way

06:19I don't think I need to use metaphors

06:23When I go into a life and write a script

06:27and implement the things in it

06:30I don't know if it is a metaphor or a different layer

06:33But it is the landscape there

06:35I capture that landscape

06:37That's all I do

06:39In your films, the duration of the shot

06:44Even in Kottu Kala, the audience is talking about it

06:48If you use a shot in that, it will be stable

06:52Some directors would have said

06:55We don't do everything at once

06:57We do it slowly and it happens slowly

07:00So, you wait and see

07:02That starts in the last frame of Koolangalai

07:06When the water is filled

07:08They pour water in small jugs

07:14It takes a long time to fill the jug

07:19So, you don't finish it quickly

07:22You wait and see

07:24We felt like this

07:26We take a lot of effort to fill the jug

07:29To show it to the audience

07:31You don't have to frame it

07:33You just have to take a shot in one frame

07:36And everyone will watch it

07:39There are some scenes in Kottu Kala

07:43You show the chair shot in the first frame

07:47They start the chair shot in the next frame

07:53There is a silence after that

07:56There is silence after that

07:58There are some sounds of nature

08:01How did you feel about this?

08:04You felt it, right?

08:06After I shot that shot

08:08I felt the sound of nature

08:12That's it

08:15I shot it to feel that

08:18To show how it was before the humans came

08:24That's why I shot it after they left

08:27There was a big commotion

08:31The silence in the land

08:36It was like abusing that silence

08:40That's the scene

08:43We abuse that land

08:46You are watching this from a noisy place

08:52But there is a calmness after they left

08:55You said it well

08:57I want to say it calmly

08:59That calmness is what I want to say

09:03It's not because we want to make a shot

09:07It's very simple

09:09You understood it, right?

09:11You accepted it and said it

09:13That's it

09:15It's a metaphor

09:17I want to show you a shot

09:19I don't want to see any wisdom

09:21I don't want to see any wisdom

09:24I don't want to see you gain anything

09:28It will be there for a while

09:30You will get rid of it

09:34I want to discuss it with you

09:37Only then a process will happen

09:39In Kottukali, the chariot is an important part

09:43You mention another thing in the chariot

09:47You mention some minute things

09:49Let's take it this way

09:51In the chariot, there are three gods

09:55There will be three eyes

09:57There will be two eyes below the chariot

10:01There will be one eye above the other

10:05Did you mean it voluntarily?

10:08Yes

10:10Or did you want to mention the human being inside?

10:14To show the women

10:16No, no

10:18Don't think so much

10:20There, there is an auto

10:22It is running

10:24I am bringing an auto from that village

10:26There are small things

10:28In the chariot where Meena is sitting

10:32There is a dolphin on this side

10:36I did all this voluntarily

10:38We will do all this

10:40We will do it without destroying the reality

10:44What happens in this film is

10:47When I see what he is going to say

10:50I pity him

10:52But the truth is

10:54You are saying that you understood

10:56You are conveying it to me

10:58I wanted to do only this

11:00I didn't want to show anything

11:02Some characters have eye symptoms

11:06I have heard that Selvaraghavan and Dhanush

11:08had eye symptoms

11:10There are many characters in this film

11:12Annabella and Surya

11:16In the chariot frame

11:18There is a mother and Annabella

11:22They have eye symptoms

11:24They are looking straight forward

11:28They are looking straight forward

11:30Why should they do this?

11:32Are they tired?

11:34Or are they tired?

11:36At least show it in their eyes

11:38Are they sad? Are they in tears?

11:40Are they in a bad mood?

11:42What is the reason for this?

11:44It is good

11:46We can say what we would have done

11:50In this film

11:52Let it be Annabella or Surya

11:56Mostly we decided not to show eye symptoms

11:58The character Pandi

12:00At the end

12:02It goes through a thought process

12:04That's when it becomes an eye symptom

12:06All this time

12:08I was thinking about something

12:10It gets cut

12:12It creates confusion

12:14If you are focused, you won't show eye symptoms

12:16If you are focused, you won't show eye symptoms

12:18If the focus is lost, it becomes an eye symptom

12:20Psychologically

12:22The end of the character

12:24It goes through a thought process

12:26All this time I was thinking about something

12:28It gets confused

12:30I told Annabella twice

12:32Annabella was an eye symptom

12:34There's another frame

12:36They go to the temple

12:38Surya sees Annabella

12:40Surya sees Annabella

12:42He suddenly sees Annabella

12:44He closes his eyes

12:46Is this a voluntary thing?

12:48Or did it happen by chance?

12:50It happened by chance

12:52The auto process

12:54The fight in the movie

12:56The fight in the movie

12:58It's like a continuous single shot

13:00How did this process take place?

13:02Did it take a lot of time?

13:04It was a full rehearsal

13:06It took us six and a half months

13:08We were rehearsing together

13:10That place

13:12That place

13:14We didn't see the crowd

13:16We went to that place many times

13:18To calm down

13:20To reduce the crowd

13:22The people there used to say

13:24They'll keep shouting

13:26They'll keep shouting

13:28Once we started shooting

13:30They let us go

13:32They'll come and shout

13:34It was very helpful

13:36It became a practice

13:38They're already doing it

13:40They're already doing it

13:42They're already doing it

13:44For six months

13:46We used to go to that place often

13:48We rehearsed

13:50The shot composing that was uneven

13:52We had to work very hard for that

13:56We had to sketch everything

13:58The camera's operation

14:00We had to sketch

14:02That much rehearsing

14:04Especially the audience

14:06They had to understand the depth of the scene

14:08They had to understand the depth of the scene

14:10To understand the depth of the scene

14:12We had to say

14:14We had to say

14:16It's all about practice and rehearsal.

14:20That's why it's so original.

14:22The original violence here is not action.

14:25That scene is not action.

14:26It's a lot of violence.

14:28The violence in the original is rare.

14:35It's very customary.

14:37I believe we would have done it right.

14:39The point of view that you are showing

14:41can be shown in the point of view of the actor.

14:43It can be shown in the point of view of you and me.

14:48But your frames go beyond that.

14:50You can see what they are doing from a distance.

14:53You can see what they are doing from there.

14:55There are a lot of things like this.

14:56It starts from Kulangal and ends in Kottukali.

14:58When you are riding a bike on a road in Charotta,

15:03at one point,

15:05when we first saw it,

15:07we couldn't connect.

15:08A person is riding a bike here.

15:09A person is riding a bike here.

15:10A person is riding a bike in Charotta.

15:11They are standing in one place.

15:13But you show it from a distance.

15:14You show a shot from a hill.

15:16You show a shot of a person carrying a cow.

15:20You show a shot of a person riding a bike.

15:22When you show it in the point of view of another person,

15:24you show what they are doing and where they are.

15:26How did you come up with this?

15:28You want to show it in the point of view of another person.

15:31I wanted to witness it.

15:33I wanted a witness photograph to be there in the film.

15:36It's a very internal problem.

15:38In this film, the width of Kulangal will be less.

15:41The reason for that is the internal problem in the human world.

15:44It's a very sensitive issue.

15:47I wanted to show it to the people of the human world.

15:50I didn't forget to witness it.

15:53I wanted to portray the fact that these incidents are happening

15:57amidst so many people.

16:00That's why I shot such shots.

16:02We can talk about that a lot.

16:05We can talk about the shot divisions.

16:07We can talk about the psychological work involved.

16:10The film is going on, right?

16:12We can talk about that later.

16:14Two shots have to be discussed.

16:18There's a shot of a person carrying a cow on a bike.

16:23If you cut that shot,

16:25a child is holding a cow.

16:27Everyone would be scared.

16:29A small child comes running to hold the cow.

16:31When she comes running,

16:33you would have shot her from behind.

16:35What do you think about this process?

16:45I'm very happy.

16:47I wanted to do a film like this.

16:49That's what I thought.

16:51There could be a lot of criticism.

16:55The audience and I could get a lot of criticism.

16:58Some of that could go out.

17:01We could let that go.

17:03Let me give you a point.

17:05The distinction between the person carrying the cow

17:08and the girl's face was there.

17:10We can find a lot of things like this in this film.

17:15I have to look at all this.

17:17If you don't tell me what I understand,

17:19I'll get very angry.

17:21I did it because I wanted you to understand.

17:23I don't know how to understand this.

17:27I keep saying this over and over again.

17:29Tell me what I understand.

17:32Tell me what he understands.

17:34There's a debate going on.

17:36I don't want to underestimate anyone.

17:40He doesn't know.

17:42Let him be. He doesn't know.

17:44I did it because I wanted to know.

17:46Not just you.

17:48I did it because I wanted to know.

17:50I don't know if it's wrong to think about it.

17:52I don't know if it's wrong to participate in it.

17:56I don't know if it's wrong to praise the film.

18:04I don't even know about it.

18:06I don't have a problem with it.

18:08I'm sad if this doesn't happen.

18:10We watch a film to feel the pressure.

18:16We watch it to feel the joy.

18:18I'm like this.

18:20You have a problem.

18:22You have to process it.

18:24You have to process it.

18:26That's what I think.

18:28I went to Thirupur to study.

18:34I didn't do anything.

18:36I just observed and processed.

18:38I observed what was happening around me.

18:40That's what I want to give.

18:42When you participate,

18:44when you discuss what's going on in society,

18:48a big thought process opens up.

18:50We make the right choices.

18:52We make the right choices.

18:54We make big changes in our lives.

18:56I'm an example of that.

18:58I want to give this to others.

19:00What's positive about Koolangal and Kottukallai is that...

19:06If I had an audience of 20 people in the mainstream,

19:10Kottukallai's audience has changed to 40-45 people.

19:14That ratio is decreasing.

19:18I'm very successful in this way.

19:20What are they saying to other people?

19:22What's their problem?

19:24I can't say anything to them.

19:26I want this debate to take place.

19:28I've made such a conscious decision.

19:30I want this debate to take place.

19:32It's the people.

19:34I made it really conscious,

19:36that this is what we have to face.

19:38We've respected them.

19:40That's not for them.

19:42When it gets conveyed,

19:44it is definitely Kottukallai.

19:46The remaining 50% will go to the left.

19:48You should continue to make more films.

19:52Vettrimalanda mentioned that P.S. Vinatharajan is an important actor in India.

19:58He doesn't look down on anyone.

20:02He said that because he knows that you have a style and a route.

20:08You should continue to make films in your style.

20:12Thank you very much.

20:16If we get another chance to interview you, let's do it.

20:22Definitely.

மக்களை Participate பண்ண சொன்னது குத்தமா? | Director PS Vinoth Raj interview | Filmibeat Tamil

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