Director KV Anand talks about Kaappaan, starring Suriya and Mohanlal in the lead roles.

No way. I know I make great commercial movies, but I’ve never used a 48-frame shot per second to highlight a hero or to record a hit dialogue. If there is a need for such a dialogue, it must come from the script and not from the hero or character it plays. Of course, I use slow motion shots, but that’s only to record a particular effect, especially during action scenes. I am of the opinion that cinema needs a certain amount of realism no matter what … the exceptions are, of course, during action scenes and songs. There must be a level of credibility in everything you try in commercial cinema.

After Kavan, KV Anand returns to the cinema with the protagonist of Suriya Kaappaan. It is his third collaboration with the actor after Ayan and Maattrraan. “The ordinary subjects do not interest me,” smiles Anand, who began his career as a cinematographer in 1994 with Thenmavin Kombath of Priyadarshan which earned him a National Prize. “I am quite relaxed when it comes to making movies. All I want is to keep the interest of my audience and tell them a fantastic story with an honest approach, ”he says.

Anand is not a fan of formulated films or a particular genre. “Although I made two films with Suriya, they were different from each other. Every time I prepare to make a movie, I challenge myself to attend all sections of the audience. The same happened with Kaappaan. It was not an easy movie to make. The script demanded Suriya and I realize that taking out a movie like Kaappaan is a big responsibility, ”he adds.

However, KV Anand is clear about his intentions. “I don’t want to deal with simple plots. But I like to show that, as a filmmaker, I’ve worked a lot on my stories. I want to make significant commercial cinema,” he reiterates.

The director of Kaappaan recognizes that his “protagonists” have always been “different.” “I don’t write screenplays for stars,” he clarifies, and quickly adds: “If you’re talking about my” heroes “driven by anger, they’re just a reflection of our society. The crux of my films has always been a contemporary theme.” .

Praising Suriya, he explains how the actor has evolved as a better performer throughout these years. “Suriya never exceeds his performance. He understands every little detail that goes into the script. I see him work and improvise on his characters constantly in front of the mirror. He is fit as an SPG command, and so is Mohanlal, who plays the Prime Minister in Kaappaan. As for Lalettan, he is a realistic actor. No matter where you are in the painting, it gives you perfect photos, ”says Anand.

What is Kaappaan about? “Although we have discussed current affairs, it is not a political film. It is purely fictional. The story revolves around this type of SPG and what it does all to save the life of a prime minister. Before the shooting, Suriya, in fact , he visited the office of the National Security Guard in New Delhi and met with the officials concerned. Both Mohanlal and Suriya have got into the skin of their respective characters, “Anand shares.

KV Anand had to do a lot of research work and expose them in a subtle way without complicating them for Kaappaan. “It required a lot of homework than my other movies. The challenge is to tell a serious story in an attractive way. To achieve the process, I have seasoned the script with drama, suspense, emotions and conflicts. I was very aware that Kaappaan doesn’t end up like another message movie, “he says.

Anand understands that cinema is more a business than an art. “That’s why I’m more inclined to fast-paced editions and narratives. It’s about telling a not-so-credible story in a credible way. A good story is the strength of any movie, after all,” he says.

The director believes in “subtle heroism” and has a practical approach to cinema. “I don’t want my heroes to fly in the air like Superman,” he laughs.

KV Anand was a graphic reporter before filming took place. “As part of my work, I met many ministers and all that experience was useful while writing the Kaappaano script. Also, I like working on stories based on real incidents, ”he says. Anand does not underestimate his audience. “The current cinema crowd is smarter than the creators. They are not interested in seeing predictable ideas, but stay tuned for novelty, “he quotes.

The director of photography and filmmaker is not happy with the shortage of screenwriters in Tamil cinema. “Usually, I prefer Suresh-Subha. But, for Kaappaan, I collaborated with Pattukottai Prabhakaran. Writers, in general, understand the nuances of writing powerful dialogues for a commercially viable plot. But these days, most of the directors themselves write scripts, ”he says.

Kaappaan, who also launched in Telugu as Bandobast, was caught in a plagiarism controversy. A couple of months ago, John Charles accused KV Anand of plagiarism and presented a case against him, which was eventually dismissed. “It’s scary how random people say this is my movie when I have invested all my time in it.” The petition says that Charles had told me Saravedi’s script in 2017, but I never remember meeting anyone, ”Anand explains.

Although KV Anand loves cinema, his first love is always cinematography. “Of course, that happens first any day,” he says, adding that he was rejected by an important publication when he first applied for a job. “Maybe my way to the cinema was destined. It is not often to find a director who handles lenses again, which I did for Sivaji de Rajinikanth (2007). To be honest, when Shankar approached me with an offer, I lied to him that I was busy with something else. As everyone at home forced me, I took it, “he laughs, hinting at how the director of photography in him is very much alive and kicking.

Is that why you don’t include too many social messages in your films?

Yes. I don’t believe in advising people. The public is intelligent on its own, and I don’t want to underestimate them. In fact, I’m afraid that people watch my movie and shout podhum da {that’s enough!}. That’s why I try to make fast-paced movies with fast editing, although I would love to make a very slow movie with slow cuts. Even the audience has changed a lot. In fact, I don’t think a movie like Cheran’s Autograph works so well today.


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