DIRECTOR CHIMBUDEVAN INTERVIEW

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I WAS SUPPOSED TO WORK WITH DHANUSH SIR AND ALSO VADIVELU SIR- DIRECTOR CHIMBU DEVAN

Interview Team : Jyothsna

Director Chimbu Devan has an impressive repertoire in the form of Imsai Arasan 23aam Pulakesi, Arai Enn 305il Kadavul, Irumbu Kottai Murattu Singam and he is ready with his 4th film Oru Kanniyum Moonu Kalavanigalum (OKMK). In conversation with Senior Editor Jyothsna Bhavanishankar, Chimbu Devan discusses about his film, Arulnidhi and the new time concept that he has dealt in OKMK. 


PHOTOS & STILLS - GALLERY

 

All your films have four words (Imsai Arasan 23aam Pulakesi, Arai Enn 305il Kadavul, Irumbu Kottai Murattu Singam and now Oru Kanniyum Moonu Kalavanigalum). Any reason?

There is no special reason. I go by the demands of the script. Sometimes when you are working on the script, the title will gradually emerge from it like delicious aroma from cooking. Even in Oru Kanniyum Moonu Kalavanigalum (OKMK) it just happened by chance. I don’t have any number or four words sentiment. In fact when the title is lengthy, it is actually tougher to reach the audience’s mind and stay but this title is needed for the story and I named it.

I go by the demands of the script

 

After Irumbu Kottai Murattu Singam, there seems to have been a gap. Why?

Cinema is not dependent just on an individual but an involvement of many people. Since you are dependent on others, delay might happen. I was supposed to work with Dhanush sir and also Vadivelu sir, but it got postponed. I would like to say that these things might happen later. These are the reasons and beyond that, there is nothing. Utilizing the time in the interim, I worked on the script for this project 

I was supposed to work with Dhanush sir and also Vadivelu sir

 

How did Arulnidhi come on board?

I had written the script and when I met Arulnidhi, I narrated the one-liner to him. He liked it and asked me to narrate to his father Thamizh Arasu who also liked the story and agreed to produce under his banner. The film went on floors within a month of script narration and was completed under four months. And the film is ready for release in such a short span of time. We were able to do things soon because the nature of the script is such. As the film is based on romance and comedy that happens in 3-4 locations, as a craft, it was easier to wrap quickly. 

OKMK is based on romance and comedy

 

Oru Kanni and Moonu Kalavanigal- Who is the kanni and who are the kalavanigal? 

If you look at the posters, you will find 2 men and 2 women. It is natural to connect men to kalavani. But it is not so. In the friend’s group of four (in the film), three are kalavanis. You will understand when you see the film.

It is natural to connect men to kalavani

 

How was it to work with Arulnidhi?

Arulnidhi is a director’s artist. He moulds perfectly to director’s vision. He has a face that can imbibe any character that he comes across, a face that can show many reactions in silence. He perfectly suited the character that I had written and he is capable of many diverse roles. 

Arulnidhi has a face that can show many reactions in silence

 

What about the other cast members?

When you are writing a story, sometimes, some characters will kind of travel along with you for the entire length of the script. It may be small characters, but the artists who have done these roles are quite talented. Examples are Delhi Ganesh, Scissor Manohar, M S Bhaskar, Naren, Mano Bala, Nasser, V S Raghavan and Ravi Raghavendra. All of them have done their part superbly. They are the pillars of the story. 

 

Heroines Bindu Madhavi and Ashritha Shetty

OKMK will show Bindu Madhavi and Ashritha Shetty in a different dimension. For a homely role, I felt Ashritha Shetty (Udhayam NH 4) would fit the bill and she satisfied my expectation. I once met Bindu Madhavi in a function and liked her casual get up. Very definitely, you will see Bindu as a different person in OKMK. 

You will see Bindu as a different person in OKMK 

 

Music of Natrajan Sankaran

Natrajan Sankaran had scored the music for Moodar Koodam directed by my assistant Naveen. Pandiraj and I watched the film and I found the music very attractive in the film. That’s how I brought on board Natrajan Sankaran and he has done a wonderful job. There are three songs in the film. A script can be done by a script writer but not by a music director but Natrajan Sankaran has worked as a script writer through his music in OKMK. 

Natrajan Sankaran has worked as a script writer through his music in OKMK 

 

Cinematographer Kadhir

Kadhir is a handy cam specialist. He is more like a co-director contributing to all the departments of film making in OKMK, be it direction, or art department or costumes. He gave his valuable suggestions for the progress of the film in a sincere manner. He is a very powerful technician. He was the greatest strength for me in OKMK. Like how Natraj Shankar had written the script through music, Kadhir had done the same through his visuals. You will realize it when you see the film.

Kadhir was the greatest strength for me in OKMK

 

Time concept

I have dealt with something unique in OKMK which is the time concept. Time is a huge segment on which one can talk endlessly. There is so much in it. The time concept will be very helpful to the texture of the story in OKMK. When you see the film, you will get a feel of it. From our Puranas to current times, people have spoken about time and the audience will get a flavor of this in my film.  

I have dealt with something unique in OKMK which is the time concept. 

 

Irumbu Kottai Murattu Singam was much talked about for its art work. How is it going to be in OKMK?

I am always keen to deal with diverse subjects in my film. If you consider my films, Pulikesi was a historical fantasy, Arai Enn was a contemporary fantasy and Irumbu Kottai was about cowboy culture. How these three films gave a totally different viewing experience, OKMK will also give a such a different feel. 

 

Many people after seeing the poster asked me if OKMK was a normal film. I would like to say one thing. OKMK also will give the feeling that my previous films had given and it will not disappoint the audience.

 

Art work is less in OKMK when you compare it with Irumbu Kottai or Pulikesi. But on a different level, this film will fulfill all those areas. It is not necessary that art work should be there in all films. As a technician, as a script writer, I believe that everything should appear fresh and new to me. That’s when I can present something new to others.  

OKMK will also give such a different feel. 

 

Shooting and V S Raghavan

We shot the film in Chennai completely. We shot a chasing scene on a terrace in a government colony in Saidapet. It is a very interesting scene and all the artists cooperated very well. We shot one portion in Pondycherry. We had problems shooting triples in Chennai city. But the portions have come out well. Although there were quite a few artists, we all worked as a family. This is my 4th film in which you would see V S Raghavan.  

 

Producer’s contribution

OKMK is produced by Arulnidhi’s home production Mohana Movies. Since everybody concentrated towards the story, the film could be completed within a short notice. 

 

You are a cartoonist. Did that help in story boarding?

Very definitely! Being an artist, it helps in communicating better. It is easy to explain the shot divisions to an art director or a cinematographer. Time wastage and unnecessary spending of money will be reduced. Storyboarding is just an expression, a tool for communicating. One can deliver goods without a storyboard too. It is just an additional tool. Of course, my being a cartoonist definitely helps. Writing is different from visual media but this is a spinal node that aids in all departments.

Storyboarding is just an expression, a tool for communicating.

 

What is your take on journalists foraying into cinema, the latest being Raju Murugan? 

It is very good. The trend was previously there too and it will continue to happen. It is similar to an artist becoming a director or a cinematographer becoming a director. I view press media the same way. It is also easy but all that you need is a mindset to break that barrier and come out.  Everybody can shine here.  People who are in press think about cinema as equally as people who are in cinema. It is not difficult and I am happy and welcome the trend.

People who are in press think about cinema as equally as people who are in cinema

 

All your films till date are humor based. Is it some kind of an extension of your persona from real life?

It is not like that. Each one is proficient in one field. I am good in drawing and was a cartoonist in Vikadan. I kept getting exercises in that area and had situations to operate in that sphere. Barring my close circle, I am quite serious with others. 

Barring my close circle, I am quite serious with others

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