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Perhaps the people who criticise me for choosing one film, will end up applauding other films I do-like Mandela. Unlike in theatre, where everything is in the control of an actor, cinema is not the medium for individual expression. I did whatever the script and the director demanded from me for the role. Mahabharatam happened because of the character. After To Let and Kumbalangi Nights, I was simply looking to do a bold role because I didn’t want people to think that I could only do a certain kind of role. Were you aware of this political stand while doing the film? While Mandela is lauded for its satirical stand against caste oppression, your last film, Draupathi, was criticized for standing against inter-caste marriage. I heard many telling me that they had fun watching this film in their living room with the family.
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However, with the TV premiere and Netflix release, Mandela reached people’s homes. To watch yourself on the big screen is the dream of every actor. We were all disappointed for a while, but given the circumstances, I am just glad that the film reached the masses. Working on this film brought back all those memories.Īny regrets that Mandela did not get a theatre release? We would all sit together and write on those yellow postcards in which we would make requests for meen kuzhambu, adhirasam, stationery items. Also, I have spent significant years in hostels, and I would often spend an entire day every week writing a letter to parents. I remember waiting for his sporadic visits with letters. A ‘post-mama’ served as our primary connection to my dad, who was living abroad. Phones were not the de facto mode of communication in my village during my childhood. How did you relate to your character, Thenmozhi? They needed two days to consult the producer and I was ready for both outcomes by then. He narrated it and it was an immediate ‘yes’ from me. Madonne Ashwin pitched the film to me, and I told him I wanted to hear the whole story. Director Chezhiyan read that and contacted me for To Let… There, I did a play called England for which I had given an interview to a popular Tamil magazine. Their relationship progresses to another level when Saji, Boney, and Franky decide to help Bobby stand by his love. The film revolves around four brothers who share a love-hate relationship with each other.
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I decided to move to Chennai to increase my prospects and joined Koothu Pattarai. Kumbalangi Nights is a movie starring Shane Nigam, Soubin Shahir, Fahadh Faasil, Sreenath Bhasi. After studying Bharatanatyam in Kalai Kaveri College of Fine Arts in Trichy, I began acting in the Nalaiya Iyakunar short films.
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The process of my sculpture is ongoing.ĭid hailing from a village (near Jayankondam) affect your exposure to the film industry? Tell us about your initial struggles.Īcting was a childhood fixation for me, but I never knew how to turn it into a career. I have said no to numerous films just to be part of To Let. It has taken many bad experiences and misplaced decisions to come here. I ask myself, ‘What is in this film for Sheela?’ As long as I am in the industry, I want to be part of constructive cinema.
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I consider the story to be the star of a film, and that’s how I have chosen my projects.
![kumbalangi nights tamilyogi kumbalangi nights tamilyogi](https://image.tmdb.org/t/p/original/cIHfSZiSWfwfi1iDcsHnIZRMRPs.jpg)
I have always intended to be part of powerful cinema I am glad it has finally turned out to be a reality. You have featured in all these films that have been central topics of conversation.
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To Let, Kumbalangi Nights, Draupathi, Mandela.