Exclusive! Stories are around us, everywhere: Saani Kaayidham director Arun Matheswaran

Arun Matheswaran is fiercely opinionated, passionate about cinema and absolutely headstrong in his convictions. It is no exaggeration to say Tamil cinema has found yet another original voice, a new champion and crusader for feature films. The director doesn't shy away from tough questions and is not afraid to air his opinions on relevant issues.

Excerpts from a conversation with Saani Kaayidham director:

Saani Kaayidham has fetched a rousing response from both the audience and critics alike. Let's talk about how the Keerthy Suresh-starrer came into being.

Thank you! Before Rocky, I had written a love story that I wanted to do ten years back, but it didn't happen. I was quite frustrated. So, I wanted to do an action film; I was in such a state of mind that I wrote a series of revenge ideas. Producers easily accept action films in Tamil cinema. Revenge has a commercial motive, right? It sells. I tried to bring that aspect into my vision. I tried to be honest as much as I could. Maybe, that got reflected on the screen.

What inspired you to make Saani Kaayidham?

Stories are around us, everywhere. Films that stay with the audience are stories of human interest, and I wanted to tell a survivor's story. I wanted a strong female protagonist to fight it out but win against the odds in all conditions. Kovam, kovam-a mattum poida kudaadhu. Maybe, it's the angry man in me, who wanted to do a film like Saani Kaayidham. As a filmmaker, I deal with my anger, with my urge to be cinematic. But, I don't have a definitive answer to your question. (smiles)

The story of Ponni is something relatable. We see/read many such stories that touch us and affect us. These are stories that describe the human condition. The more a woman asserts her brilliance, the more vicious the attacks become. That's how society functions. It's unfortunate.You skim through the newspaper, you see many crimes being reported. And, those incidents involve either physical abuse or senseless violence/killing. I wanted to touch upon both. If I were a journalist, I'd be writing an article. I'm a filmmaker; I write and make films. This is my form of creative expression. The idea is to tell people what it is. Let’s see what it does to people individually.

How did you go about the narrative choice? The film is almost told in a flashback.

I wanted to add different layers to Saani Kaayidham, and I was careful about it. I wanted to stick to a specific narrative style. For instance, in a scene, Ponni and her husband discuss their everyday issues—I didn't want Ponni's husband's character to look into the camera and deliver his lines. Had he done that, it would have been preachy. I wanted it to be casual, and real. I didn't want to go overboard with their plight. More than anything else, I wanted to create a powerful character. Saani Kaayidham just happened. It wasn't a planned thing.

It's interesting how Saani Kaayidham has been divided into different chapters. Was it done consciously?

Of course, yes. I write it chapter-wise. I think the habit comes from reading books. But writing a screenplay is different from writing a book. The idea of dividing Saani Kaayidham into chapters was to provide an immersive experience to the audience. Oru book padicha feel irukkattum-nu! With every idea, there comes a time when it just boils over. I think about my films for a long time, maybe years, but I write them in days.

Saani Kaayidham is focused on emotions, as much as it displays violence.

Yes, that was my intention. I didn't want to glorify violence. An important scene was chopped off by the Central Board of Film Certification. But, I felt it should have been made into the final cut. Because, I thought it's important to show how you can't be dependent on society, all the time. You have to stand up on your own.

We watch films where the on-screen characters turn emotional but viewers don’t relate to it. This is a film where, we hoped, the viewers will also get emotional. I want my films to mirror society at large. Ponni is an injured warrior, and Sangaiah is a guardian angel. I wanted to tell a simple revenge story.

Saani Kaayidham is a straightforward, honest attempt at the revenge genre in Tamil cinema. The film has a simple and predictable premise. Saani Kaayidham is a film about two raw characters—Ponni and Sangaiah. In the beginning, Ponni doesn't like Sangaiah. By the time she wants to call him, "anna", he takes the bullet. It's a poignant end.

Your thoughts on the CBFC. Directors have battled censorship for decades in India. Often, directors are forced to make the necessary cuts and revisions.

What do you want me to tell you? (laughs) I thought films that release on the OTT platform won't have the Central Board of Film Certification's interference. But, of late, even for an OTT release, films are being censored. I think they want to play it safe. In Saani Kaayidham, I couldn't show what I wanted to show. I have the director's cut, though. But I am not sure if I can screen it. I don't think I can!

Do you wish Saani Kaayidham had a theatrical release?

I love the theatrical experience. I am certainly a fan of the big screen. Wait... who's not? As a creator, I just want people to see my film. I don't mind how they do it. Rocky had a limited release—which is fine—for a film of that nature. The focus, in the OTT format, is on pace and characterisation. Nonetheless, if we make visually compelling content, it will find an audience, somehow.

How did you write Sudalai's character, (the visually-challenged boy)?

Sudalai is more like the collective conscience of the audience. He wants to help Ponni, but he can't. He's like us. Sometimes, we want to help someone, but owing to circumstances, we won't be able to. Are juveniles involved in crimes, criminals? Or, are they victims of society? It's both a sensitive issue and legally a grey area—which is why when a bunch of adolescent boys step into the room—to physically abuse Ponni, I would have chosen to keep blurry a wide shot.

Right. This interview wouldn't be complete without us discussing the stupendous work of cinematographer, Yamini Yagnamurthy. How was it to collaborate with her?

Yamini did a phenomenal job! It's physically demanding to shoot a film like Saani Kaayidham. Yamini was running on the sets, carrying a Steadicam on her shoulder. It must have not been easy, but she pulled it off.

As for the colour palette, we wanted to use not-so-vibrant ones. We took references from photographs and paintings. We opted for the colours that went with the mood of Saani Kaayidham—the blues, the greys, the browns. We had extensive pre-production work and discussions with costume designers and art directors. I briefed them about what should be there and what shouldn't be there in the frame. Saani Kaayidham is a collective effort. At this point, I'd like to thank all the technicians, who were involved in this process.

I'm sure. Moving on... What's on your reading list?

I don't have the time to read right now, as I'm occupied with my next project with Dhanush. But keep revisiting The Catcher in the Rye, a novel by JD Salinger. Also, Nineteen Eighty-Four by George Orwell.

Both Rocky and Saani Kaayidham don't fall into the conventional form of storytelling. Is your next with Dhanush also dealing with the similar revenge genre?

It's too early to discuss my upcoming film, featuring Dhanush. (smiles) Enaku ippadithaan padam edukka varudhu! (laughs) I enjoy watching and making intense, deep and layered films. But hey, I'm not against the conventional storytelling formats either.

Selvaraghavan acts to explain the scenes to his actors. What's your method?

I don't do that. I brief the situations to my actors and leave it to them. The camera is their space. It largely belongs to the actors! (smiles) I have seen a few directors instruct their actors on a mic. I don't do that, either. I simply let my actors be. Keerthy Suresh is a director's delight and always gives you more. I tell her the situation, and she comes up with different variations. I retain what works best for me. (pauses) Do I have to speak about Selvaraghavan sir? He's brilliant.

How comfortable Selvaraghavan was on the sets of another director?

I think Selvaraghavan sir should answer this question! (laughs) He’s down-to-earth. Periya director maadhiri avar enkitta pazhagala. Truth be told, it was easy to direct him.

How did your mentor Thiagarajan Kumararaja react to Saani Kaayidham?

He loved the trailer, and I don't think he has watched the film. Thiagarajan Kumararaja has huge respect for cinema. He has a distinct voice. He's someone who makes films on his terms; with zero compromises. I have learnt a lot from assisting him.

How do you see yourself in the next five years?

I enjoy what I am doing now. I am here to tell stories. I will be happy as long as I can do films the way I want to do them. I want to have my credibility.

Did you observe any similarities between Selvaraghavan and Dhanush—in the way they approach a specific scene; considering you know both of them?

The film with Dhanush is in the pre-production phase. He's extremely sharp, and a good listener. Dhanush also has no airs or a bloated ego. When I tell him something, he understands it easier. Maybe, that's because he has directed films himself. I enjoy speaking with him.