Karthik Subbaraj Quotes

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A theatrical release is not possible for a short film.

There are some sites that pay, but access to them is quite limited. And a very small chunk of the population uses the Internet. So, a director goes on YouTube only for better reach.

Short films are good, especially since independent films are making waves now, more than before.

I grew up in a house that adored Thalaivar. There would be major discussions at home whenever a film of his was due for release, and we would manage to watch the film on the first day.

Once I heard Karunakaran was part of 'Lingaa,' I told him to somehow arrange for me to meet Thalaivar. The 'Jigarthanda' team met him when he was shooting in Shimoga. It was a memorable meeting, as he opened the door for us, sat, and answered whatever we asked him. And, I got to meet him twice in two days!

Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.

Other countries are open to purchasing foreign short films because they have a market for them.

When I was making short films for the TV show 'Naalaya Iyakunar,' I wasn't just competing but making films that I could potentially show at international festivals.

A short film is not a shortened feature film. It has a soul of its own.

The girls who come into Tamil cinema today are educated and from well-to-do families. Unlike the actresses of my generation, they do not need cinema for survival. We cannot write a small role - dead cast, as I call it - and expect them to be excited.

I grew up idolising Rajinikanth, and I've always wanted to see him in a certain way. When I knew I was going to write for Rajini sir, I wanted to show him in the most stylish way and bring back his mannerisms and machismo.

Rajini sir gave me an opportunity to work with him because he liked my work, especially my style of narration and dialogues. Now, I can't go out and make something very different just to please him. He wanted me to make 'Petta' the way I want it and with my sensibilities intact.

Importantly, Rajini sir doesn't take his fans and audiences for granted.

When I thought of writing for Rajini sir, I told myself it will be a really cool character with a very happy-go-lucky attitude. We took such a character and placed him in a strong story, and I believe, as a combination, it has worked wonders.

Following the success of 'Pizza,' I am really glad that C. V. Kumar of Thirukumaran Entertainment has extended his support to a new director, Deepan Chakravarthy, to direct 'Pizza 2 - The Villa.' I wish this team to have a great success like 'Pizza.'

Rajini sir's character in 'Petta' is inspired from the same name from Tamil film 'Mullum Malarum.'

Luckily, 'Petta' encompasses all the dimensions of Rajini sir's performances. His main strengths are his charm, style, and the fun that he represents.

I remember, when I was working in Bengaluru, Rajinikanth's film 'Sivaji' was releasing, and I wanted to watch it the first day, first show. My manager did not want me to take the day off, and I made up excuses stating that there was an issue at home and I had to go.

When I was watching 'Sivaji,' I had no clue I will be a filmmaker; I had not even started making short films at that time.

Until I was pursuing my collegiate education, I was in Madurai with my parents. Bengaluru was the first place where I was independent. So, the city is very close to my heart.

When it comes to Sandalwood, I loved all the films of Rakshit Shetty and Pawan Kumar.

I didn't foresee troubles in my second film.

I roughly draw the scene beforehand to be more confident on the set. Instead of talking and explaining certain things, I try to visually communicate the scene to my team with the story board. This is how I work.

I basically like the unpredictability factor. When I watch a film, if it becomes predictable, I lose interest in it.

Mani Ratnam is my biggest inspiration.

When I was working in Bangalore, short film making was fun - almost like a weekend getaway for me and my friends from the software industry.

I started as a short filmmaker and found that one of the toughest challenges was getting your film to be watched. I would enter it in competitions and release it online, but getting a mainstream theatre-going audience to view the film is difficult.

Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.

The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.

In a silent film, the visuals are of utmost importance.

When I made 'Pizza,' all I had in my mind was to make the film reach as many people as possible.

I made a lot of short films before making a feature film. Actually, I learnt film-making by making short films.

For a cinematographer, every frame has to be important.

'Mercury' is about a big company exploiting a small town. There is a place in Tamil Nadu called Kodaikanal. It had a thermometer factory, which would dump the mercury into the river. This affected a lot of people. This incident is the inspiration for this film.

For any actor, voice is his strength.

While working in Bangalore, I was making short films.

My parents have let me do whatever I am interested in. Initially, they were apprehensive, but when they realised that filmmaking was my passion and that I was doing a good job with the short films and the recognition in 'Naalaya Iyakkunar' TV show, they supported and encouraged me.

My father has been a part of a few short films I made; he played a small but significant role in 'Jigarthanda.'

No, I am not after huge stars. But I have no reservations about working with stars.

I would like to direct good actors, and there are good actors who are stars.

Rajini sir has always been a part of my life from childhood. And I entered into filmmaking because I was influenced by his films.

I start writing with an open mind without thinking about genre and realise, only after writing, that it falls under many genres.

'Mercury' is one of the most challenging projects I have worked on. From the nuances of the actors' expressions to the minute technicals of the movie, everything needed to be monitored and looked into. The actors were required to emote purely with their face.

Besides being one of the most ambitious projects I have worked on, 'Mercury' has also helped me enhance my skills as a director.

Cinema is a visual medium one has to communicate through visuals, and therefore, dialogues should be less.

I did a lot of short films before doing feature films.

After doing two feature films, I got an idea for a thriller film and felt this could be made without any dialogues.

You need actors and performers, but there has to be content in a film.

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