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We were threatened during the shoot of Jigarthanda: Rajendra Bala

Express catches up with Rajendra Bala

Why filmmaking? How did your journey commence?

Films have always intrigued me. But it was Aaromale from Vinnaithaandi Varuvaaya that was the wake-up call. It pushed me to pursue my passion with more seriousness, and I made a short film about conjoined twins. But the output only matched about 60 percent of what I had originally visualised. This, despite having people like Anthony as the editor, Girishh Gopalakrishnan of Vidiyumm Munn fame in charge of music, and PV Shankar, who recently handled the camera for Maragadhananayam, as the DOP.

Then, one of my friends who had worked as the assistant cinematographer of Pizza, introduced me to the Karthik Subbaraj camp, and from then on, there has been no turning back.

What’s the oddest thing you have experienced as an assistant director?

We got threatened and bullied during the shoot of Jigarthanda. Also, I wouldn’t call this odd exactly, but I was amazed and never expected this: I was often addressed as ‘sir’ or ‘Thalaivaa’ by people like SJ Suryah and Vijay Sethupathi.

What is the best thing about being an AD?

A film is like a director’s child. The best thing about being an AD is the fact that we do our best to assist in bringing forth the director’s vision.

What do you like the most about Karthik Subbaraj’s style of filmmaking?

I love how he wants everyone to be a part of the film and involves them by asking them for suggestions. When I joined him for Jigarthanda, I was the sixth assistant, but I was given the script. Now, who does that? It’s not something directors usually do.
What have you learnt from him?

His eye for detail. Let me give you an example from Iraivi. In the climax sequence, Vijay Sethupathi strikes Bobby Simha with a statue. That scene has loads of subtle imagery. The statue is half-man and half-woman. Conscious efforts were made to make the statue resemble the shape of 8, just like the title card. The scene was shot in such a way as to highlight two plot points. One, the fact that like the statue, Vijay Sethupathi will get bonded together with Anjali, but will end up with blood on his hands, just like the statue. Two, it’s the female half of the statue that ends Bobby Simha’s life showing that it is his love for Anjali that ends his life.

What’s one area of filmmaking that you are having a tough time with?

I find scripting of love potions very tricky.

Who’s a director you wish you could work with?

AR Murugadoss.

What are your future and upcoming projects?

I have finished writing the script of an action thriller.

What’s the dream cast of your debut film?

Vijay Sethupathi. Having worked with him, I can actually write a script tailored for him, keeping in mind his body language, mannerism and working style.  

Directors worked with: Karthik Subbaraj
Films worked with: Jigarthanda, Iraivi, Mercury
Key responsibilities: Everything from casting to crowd control

Source: The New Indian Express