Christopher Nolan, who made Inception, would be proud of Kallappadam. It isn’t just a film within a film but a film whose crew (director Vadivel, composer K, cinematographer Sriram and editor Gaugin) play themselves in the film within the film. Even their names are the same. So, when the director of Kallappadam yells “Action!”, he begins to act as a director who probably has to yell, “Action!”… in the scene. Seems complicated?
Not according to Vadivel, the film’s director who was an assistant to Mysskin. He, along with the other protagonists, talks about the making of this film.
Describe the evolution of Kallappadam.
Vadivel: Sriram suggested an idea about aspiring filmmakers trying to make their first film. We also had another script which required a big star, but our producer was looking for a smaller film. So we developed the first idea into Kallappadam. It was initially a story about four struggling assistant directors. I had to change this because four ADs would want to make four separate films. But four technicians can come together to make one film. Instead of casting four new actors, Sriram and I felt we could act in the film ourselves.
When did Gaugin and K get on board?
Vadivel: The three of us worked together under Myskkin sir right from Nandalala. Right then, I had decided that they would work on my first film. Sriram, an assistant to P.C. Sreeram, has been my friend since 2003 and he joined as the cameraman. Gaugin and K too were part of the film, right from scripting.
Did their early involvement help?
Sriram: As technicians, we try to do our job in a way that stands out, but as we knew the script so well, we didn’t have to do anything beyond what the script demanded. The film provided a lot of scope for experimentation.
Gaugin: Because of my involvement from the beginning, I felt free to make suggestions that would help during editing. If I wanted to try a particular transition or cut, it was easier to ask for it on the set itself, while shooting was in progress.
Are the four roles autobiographical?
Vadivel: To some extent, yes. After we decided to act in the film, I was able to incorporate elements from our life into the characters we essay. For instance, Gaugin’s character struggles to get a bride as he is from the film industry. This has been drawn from Gaugin’s life. Certain other characters too have been inspired by real life.
As acting was part of the job, who called the shots on the sets?
K: We were all working to achieve the director’s vision, but we knew the script so well that we could take decisions when the others were acting. Being on the set from start to finish taught us so much about many aspects of filmmaking besides our own.
Sriram: There were instances when I would set up a camera for a particular scene and then run to the make-up man for a touch up, to be in that shot. Once that scene got over, the camera had to be shifted for the next scene and I had to run back to the make-up man. It was a lot of responsibility.
Were changes made to the script after deciding that you would be acting in it yourselves?
Vadivel: The original draft had a love story, which we had to remove because all of us are far too shy.
Plus, I felt a love track would distract the audience. They also tried to get me to remove a dance sequence, but I have retained it (Laughs).
Were there arguments during writing and shooting?
Gaugin: Of course. An hour every day would be consumed by arguments. But I feel that happens only when we are so attached to the film. The whole process enabled us to see different shades of one another — shades we have never seen before. But it has only brought us closer.
Three of you worked under Mysskin. Can we expect to see his influence on this film?
Vadivel: Naturally. Even on the first day, I set up a long shot and people immediately said I was imitating him. Since then I have tried to avoid all conscious influences. But I must say Mysskin sir too has been a part of the film right from the start and it was he who suggested I work on this story when I pitched it along with two others.
