''JUST SIT BESIDE MANI RATNAM AND SREEKAR PRASAD WHILE THEY ARE WORKING, THAT IS ENOUGH TO MASTER THE ART OF EDITING''
Interview Team : Avinash Pandian; Venkat; Ashok Kumar; JyothsnaMadhavan starrer Irudhi Suttru is one of the most raved films in the recent times. The film outshined in every single department. Its crisp editing is one of the reasons for the film’s stupendous success. The man behind the neat edit work, Sathish Suriya talks to Avinash Pandian about Irudhi Suttru, his future projects and many more in this extensive interview.
Journey to stardom...
I am basically from an accountancy background. I started my career as an accountant in a media company, say like 15 years back. That is when my urge to learn different things helped me assimilate the basic intricacies of editing. That experience aided me to find a job as an editor in a popular television company which was a startup back then. I had the same mundane routine work which wasn’t fascinating and that is when I got a call from Mani Ratnam’s office.
Journey to stardom...
I am basically from an accountancy background. I started my career as an accountant in a media company, say like 15 years back. That is when my urge to learn different things helped me assimilate the basic intricacies of editing. That experience aided me to find a job as an editor in a popular television company which was a startup back then. I had the same mundane routine work which wasn’t fascinating and that is when I got a call from Mani Ratnam’s office.
Around the release time of Kannathil Muthamittal Madras Talkies was in need of an assistant editor for Sreekar Prasad as the former assistant had few other commitments to attend. I had mixed feelings before taking up the job since the salary was nearly half of what I was paid before. But I gave a nod, knowing it would be a huge learning curve for me.
After assisting for close to a decade, I got my first film opportunity as a main editor in Kannamoochi Yenada. Post that, I did projects like Thiru Thiru Thuru Thuru, Shiva Manasulo Shruti (Telugu remake of Siva Manasula Sakthi) and then came Naan and Amara Kaaviyam.
I had mixed feelings before taking up the job since the salary was nearly half of what I was paid before.
Is that when you got acquainted with Sudha Kongara who happened to assist Mani Ratnam back then?
Sudha joined very soon after I joined Madras Talkies. We know each other since Kannathil Muthamittal days.
Is that how you were picked as the editor for Irudhi Suttru ?
I was not the initial choice for Irudhi Suttru. Another editor was initially supposed to do the film but due to few reasons he couldn’t work and that is when I got the opportunity.
I was not the initial choice for Irudhi Suttru.
Your contribution to Irudhi Suttru ?
Firstly we had plenty of time to edit the film as it has been in production for over a year. The theme of Irudhi Suttru really fascinated me. Sports genre is something that gives ample scope for the editor to prove his skills.
Irudhi Suttru is a very well planned film. The first cut version that I edited was around 2 hours and 25 minutes which we later trimmed to about 1 hour 52 minutes. The climax portion alone was around 30 minutes initially. The ones that were chopped off were good too but we were particular to retain only scenes that could add value to the proceedings.
The climax portion of Irudhi Suttru alone was around 30 minutes initially.
How different is Saala Khadoos from Irudhi Suttru ?
There are quite a few differences in both versions, changes that are made to suit the respective audiences. For the Hindi version, I had the opportunity to collaborate with director Rajkumar Hirani sir. Working with him was a very nice experience. He showed me how a scene can be portrayed in different ways.
There are quite a few differences between Irudhi Suttru and Saala Khadoos
Editing tools that you use?
I am comfortable with both Avid and FCP, but I generally work in Avid. Except for Naan, all my movies were edited with Avid. Naan alone was edited with FCP.
Naan
Naan gave me the much needed break. The film was technically raved about in all departments. In the industry circle, Naan gave me a good recognition.
Working experience with Mani Ratnam ?
Just sit beside Mani Ratnam and Sreekar Prasad while they are working, that is enough to master the art of editing. Mani sir is a wealth of knowledge, he is extremely passionate and dedicated in what he does. He aims for something different always, something out of the box and he constantly strives to achieve it.
Mani sir is a wealth of knowledge
How do you decide on which shot needs to be highlighted and which not?
It all depends upon the script. Our work is to make the overall output look seamless and smooth.
How much time are editors given? Release date pressure…How’s the editing industry overall?
The pressure on the editors is enormous these days. We could be paid better. People sign multiple projects to earn more money and that indirectly puts a lot of stress on the editors. Probably with better payment and more time to work, editor’s life would become a lot easy.
We could be paid better. People sign multiple projects to earn more money and that indirectly puts a lot of stress on the editors.
What is your work pattern? Do you work tirelessly hard and don’t mind about work timings? Or you work only 8 hours a day?
I don’t mind about the timings or the number of hours that I work in a day. I sign limited number of projects that I am comfortable working with. I am an upcoming editor so I guess I must be a little flexible. It is that phase of my career where I need to put in a lot of effort. But one thing is that I never get stressed. I work hard but I have my own pace.
I work hard but I have my own pace.
Common man’s awareness about editing; not just a commoner, even most critics have very little idea about editing. Do you feel bad when you see standard terms like pacy editing, racy editing being used in all reviews?
Our work cannot be compared with that of a director or an actor. Our work needs to be seamless and hidden. So you cannot expect the audience to acknowledge our work. When it comes to editing there is nothing called right or wrong.
The patience level of the audience now a days is very less. Do you keep that in mind while editing?
I generally see what will be correct for the script. If a scene requires to have silence, it should have a silent moment. Just because few people might get restless, we cannot chop a scene just like that. Similarly a mass film cannot have one boring moment where your cuts need to be racy.
Any preferred genres?
Crime and thriller
Future Projects?
I am working in Arun Vaidyanathan’s next film starring Arjun, which is tentatively titled Nibunan. Then I have the Telugu remake of Irudhi Suttru and an untitled Sibi Raj film in the pipeline. I am in talks with few other directors too.
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