If I want a positive thing to reach a wider audience, I need a star to propagate my idea: Pandiraj

There’s a strong sense of nativity in his films, and Pandiraj doesn’t shy away from admitting that he is happy doing what comes best to him. Even his latest release, the Karthi-Sayyeshaa-starrer Kadaikutty Singam, was set in a village, against the backdrop of farming. We caught up with the filmmaker for a quick chat, and got him talking about the response his rural entertainer has received, his take on working with stars and why he treats every film like his first.Excerpts:
Today, India has woken up to the plight of farmers, and several people are voicing their support for them. Even in your film, there were strong pro-farmer dialogues…
I come from a farmer’s family; my father’s into farming, but we couldn’t sustain it because of certain issues. I became a filmmaker and my brother is in the cycle business. But for how long can I be in this profession? One day, I want to go back to my village and take up farming. Even here, I have a small piece of land, and I grow plantain trees and vegetables like brinjal for self-consumption. I’ve always wanted to do a film about farming. But this one was not about the issues farmers face; it spoke about the pride that a farmer should take in his profession. Our country’s backbone is farming, but we haven’t done anything to ease the burden of farmers.
Vice president Venkaiah Naidu had thanked the team for giving a film which showed ‘the life and lush-green beauty of the countryside without glamorising them’. Did you expect this kind of a reaction?
It was such a big honour for us to receive such kind words from our vice president. From my farmer friends to IT guys, a wide section of audience liked the film. But what’s really encouraging is that we’ve managed to make people look at farming with respect. There’s no doubt that we have been proud of farming, but a lot of youngsters have now started looking at it as a profession. I had gone to Pollachi recently to participate in a sapling planting initiative, and many college students came forward to share with me how they enjoyed seeing the pluses of farming and living in a joint family. A 70-year-old lady told me that it’s after 20 years that she’s come to the theatre to watch a film. Many people from the industry have also told us that they’ve liked the movie. They said that a movie can become a hit and earn good revenue, but not all movies can earn respect.
At one of the film’s events, Suriya said he’d donate a crore towards farmers’ welfare. What’s the status on it?
They’d already donated about two lakh each to five farmers. A team has been set up to identify various issues that farmers face, and more funds should be disbursed soon.
Almost all your films have been set against a rural backdrop. Do you consciously keep it that way?
I’m a pucca village boy. I lived 20 years of my life in a village. So, making a rural film comes easily to me. But, I have attempted to showcase city life in Pasanga 2, and Idhu Namma Aalu. If I take a city-bred youngster to a village and say that he has to live there, he will take some time to settle down and study the place. That’s how I’ve been. Namakku therinjadha edukkanum.
Your last few films have been with well-established stars…
Even while I was working with Simbu (Idhu Namma Aalu) and Vishal (Kathakali), I did Pasanga 2 with kids. I think the deciding factor is the story and the budget. The budget of Kadaikutty Singam is big; only then will we be able to showcase a big family. If I cast a new face, then I can’t justify the budget. Also, if I want a positive thing to reach a wider audience, I need a star to propagate my idea. It’s not a bad thing to work with stars. But then, it doesn’t make sense to ask me if I will henceforth only work with stars, because it’s the script that decides it. These days, movies release on media other than theatres, too. For instance, you can watch one-hour films on online platforms. When I shot Marina in 5D digital format, people made fun of me, saying I was shooting with still camera. But, the film worked. I want a lot of independent films to come up; I have about five such scripts that can run only for an hour. Hero-va nambi padam pannanum-nu avasiyam illa, aana hero illamaleye padam panna mudiyathu, because there will be no growth. A director should be versatile enough to do both.
Do you feel pressured to deliver at the box-office every time you make a film?
Definitely! I didn’t have a release in the last two years, and when Kadaikutty Singam was ready to hit screens, that ‘pressure’ was at its peak. If a film runs, and people appreciate it, I won’t have a problem for five years. I can approach producers with my next script confidently. I have established myself as a MG (minimum guarantee) director. But I need a hit to find more work. Even an actor needs a hit, but he/she can sustain for four-five films. But if a director delivers a flop, it’ll be a struggle for him to get his next film. For a director, every film is a first film.
Now that you’ve proved yourself, are you taking it easy?
No way! Bayangaramana bayathula irukken. This film is the highest grosser in my career, and even in Karthi’s. So, there’s a lot of expectation and that’s making me jittery. In fact, I’m going back home (in his village) and I will be there for some time, with my people… till I find another story.