| Types
of directors and their way of working!! |
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If
you think that you with all your knowledge
of cinema can become a director in
Kodambakkam, you are mistaken. The
path to becoming a director is arduous
and long. You should have real stuff
and yet you must not show it off,
you must have a will of steel yet
be flexible enough to accommodate
your producer and your hero. But once,
you make it to the top, you are your
boss.
There are three types of directors
in Kodambakkam |
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Speedy
scripts
To the first category belong directors
like Perarasu, Dharani and Hari. They
begin with a bang, and continue to
give hits with big heroes in the lead.
They are known for the pace of their
script rather than for any story value.
The money they command on the market
is huge. |
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Don’t
care about the hero
To the second category belong directors
like Bala, Balaji Sakthivel, Selvaraghavan
and Suchi Ganesan. They believe in
themselves, their story and seldom
care for who the hero is or who watches
the film. The respect they command
is high and there is always a queue
of big producers waiting on them.
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Only
for home
The third category is a different
lot. Directors such as Kadhir and
Amir belong to this group. They give
hits but they insist on producing
the films themselves. They don’t
work for other producers. Kadhir became
famous with Idhayam and shot to fame
with his Kaadhal Desam and Kaadhalar
Dhinam. But his home production Kaadhal
Virus let him down. Amir, however,
managed to stay with two hits—Mownam
Paesiyadhe and Ram. |
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The
risk factor
The risks these directors
take with their career and money depends
on the category they belong to. Risk
for the first category is less. For
the second it is fifty-fifty. To the
third it is hundred per cent. If the
movie bombs, they bear the full brunt.
If you are not a producer yourself,
you have to dance to the tunes of
your producers. |
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Do
you think that Thangar Bacchan would have
brought the song Kuruvi Kadichha Koyya Pazham
Konduvandhu Tharava into his Azhagi on his
own? Compare it with Chidambaratthi Oru
Appasamy, his home production!
Parthiban, for all his talents and creativity,
had to see a lot of flops. Unless he resorted
to commercial flicks, he could never make
money, directing his own films. If Ullae
Veliyae (a purely commercial film) was a
hit, his Houseful and Paccha Kudhirae were
flops.
Use for nothing types
There is another category of directors,
the fourth that takes the industry for a
ride. They come with a story, hire the heroes
and heroines and spend months and months
in discussion in five-star hotels, having
a wonderful time at the producers’
cost. Heroines will be called for special
all night discussions. The output of these
directors is nil. Their tribe in the industry
is increasing day by day |
