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That was the only reason I chose early 1980. If I had to show "after 37 years", I would have gone for the seventies. I had to show a part as "after 27 years". Any particular reason why you chose this time frame? That way Subramaniyapuram has an identity. Subramaniyapuiram has a fresh look only because the film has new faces. If we had known faces, the characters would fade away and the actors would dominate, which I did not want. The film would look good only if we had new faces - actors without baggage. To get a producer and distributors easily, didn't you think of making the film with well-known faces? You knew you had a different story with you, a winner. So, before the release itself, to my surprise, instead of becoming a loss, the film became a profitable venture for me. I sold all the areas on minimum guarantee price. Somehow, there were distributors who wanted to buy my film. I am thankful to the media for the kind of support they gave me. I started with the assumption that I was going in for a loss. I knew I was undertaking a risky proposition. I produced the film although I knew the road ahead was difficult. So, producers should change their attitude and support independent filmmakers.ĭid you also find it difficult to get a producer and distributors? It is they who put the blame on the audience and back masala films. There are many directors who want to make good films but producers are not willing to back such projects.ĭistributors also do not support the ventures of new directors and realistic films. That is because producers are scared to make such films even today. Then why is it that more films like Veyil, Kadhal and Subramaniyapram are not being made? I don't agree with the argument that audience are to blame for masala films. Filmmakers should give more such realistic films. It should not stop after Subramaniyapuram. We should give them more and more good films. So, they watch and make success of masala films. How many films like Veyil and Paruthiveeran are released in a year? There is only one Veyil or one Paruthiveeran in a year. That is because the audience has no other choice. Then what do you say about the huge success of commercial films? What do you attribute the success of Sethu, Pitamagan, Veyil, Kadhal, Paruthiveeran to? Audience yearn for such films but we don't give it to them. They always encouraged good films and they look forward to watching realistic films. No change has taken place in the taste of the audience.
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When did you realise that there was a change in the taste of the Tamil audience? I think filmgoers are fed up with the routine masala stuff. But I must confess that I did not expect the film to be such a big success.Īs the director, to what do you attribute the real success of the film?įirst and foremost, the story, which was real - viewers want to see realistic and novel ideas and not only masala films. I was confident that anyone watching the film would like it. I worked as an assistant with directors like Bala and Ameer, so I had confidence in myself as well.ĭid you expect the film to be such a big hit? It is now being compared with how Paruthiveeran fared at the box office. So, I knew what was in store for me.įrom where did you get the courage to make a film set in the early 1980 and that too with new faces? I knew what Bala Sir went through because I assisted him then. When I made my film, I knew it would be tough to get good theatres. Yes, it is so strange but both the films had the same fate. It has been a slow but successful journey for both the films. Both the films when first released did not get good theatres but with people liking the film, they have moved from the suburbs to bigger theatres. How Bala's first film Sethuand your Subramaniyapuram fared at the box office look strikingly similar. You assisted Bala and Ameer, whom you consider as your gurus. In this interview, Sasi Kumar, the producer-director of the film talks about the tough experience of making a film that he believed in, and also about it's success.