The story of our first meeting is also the story of how Kabali began. When we started working on Kabali, I didn’t know if he remembered me from our first meeting during the 100th day celebrations of Chennai 600028. I was Venkat Prabhu sir’s assistant then and was also a part of the group photo we clicked with him.
We met again for the first screening of Goa that was produced by Soundarya. She was supposed to produce my first film Attakathi too and we’d been in touch since then.
Years later, Rajini sir called me one night after he had watched Madras. He said, “Semma superaa iruku kanna. Kalakkiteenga.” I was thrilled and I tweeted about it too, but I didn’t give it too much thought, given how Superstar’s known to congratulate makers of the films he’s liked. So I got back to working on a script I was writing for Studio Green.
A few months later, Soundarya called me and said Rajini sir was looking for scripts and my name had made it to the list of directors he wanted to work with. She said her entire family had loved Madras and asked if I had script ideas for the Superstar.
I pitched two one-liners; one about a Malaysian gangster and the other a supernatural thriller. Of these two, she said Rajini sir had picked the first one and asked me to write it.
I worked on it for a few months but I felt the script missed a particular thread that was needed to hold the film together. That was when Soundarya called to ask if I was ready with a detailed narration. I got nervous, not only because I felt that there was something missing, but also because I am terrible at narrating.
I decided to not narrate at all and I even dialled Soundarya to say I won’t do it. That’s when it struck me. An opportunity to pitch a script to Rajini sir is a privilege. I gave it another shot and I realised that the missing link I was looking for was right there before me.
Confident, I then went to meet him. I was greeted with a glass of buttermilk and Rajini sir ensured I had a grand welcome. He had a feast laid out for me and started talking extensively about all the things he’d loved about Madras. He spoke about the issues the film dealt with, its characters and its setting. This really helped create a comfort zone between us, which led to me narrating the script confidently for the next hour-and-a-half.
After listening he said, “Semma supernga, Chancey illa.” He said he loved the film’s setting and the fact that he would be playing an aged don. But he didn’t commit that he would do it.
I didn’t hear from him for a long time and I’d started losing hope, considering I was competing with some of the most established directors around. I got back to writing and finished a script I was working on. It was then that Soundarya called and asked if I could add some comedy to the script I’d pitched. I said I would be uncomfortable doing that and it wouldn’t work for my script.
I thought it was all over with that and decided to move on. She called later the same day and asked me to come over to meet Rajini sir again. I went over the following day and as he walked in he shook my hand and said, “Vaanga director sir. Neenga than adutha padathoda director. Paathu seyyunga.” That was all.
- Pa. Ranjith, Director
