Star Interviews
Interview : Writer Kanchi
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Jul 20, 2010 - 9:02:26 AM

Siva Sri Kanchi

Director S S Rajamouli’s films all have the story penned by his father Vijayendra Prasad but for the first time he is working with another writer. Kanchi scripts Maryada Ramanna. I first heard the name of writer Kanchi when the film Maryada Ramanna was started. I was curious as to who he was, and I then got to know that he was related to the director S.S. Rajamouli but I didn't get a chance to talk to him until now. As the film is getting ready for release, here we are presenting this new scriptwriter.

What's your full name?

Shiva Sri Kanchi.

How you are related to Rajamouli?

(Laughs) I am first cousin of Rajamouli and younger brother of Keeravani gaaru. After me is Kalyani Mallik.

I heard that you were an associate to Vijayendra Prasad gaaru. But for this film I think he assisted you...?

It is wrong to use the word assist, but Vijayendra Prasad garu guided me. I started working with Nandi (Rajamouli) from the film Sye and worked for Chatrapathi, Vikramarkudu, Yamadonga, and Magadheera in script stages.

What did you do before Sye? Did you have any hands-on experience in the field before that?

I worked for the popular TV serial Amrutham for Just Yellow Media, and had done the first 70 episodes with Sivaji Raja. Nandi was then working on Student No.1 and Simhadri. As I was busy with the TV serial, I didn't work for that film. I thus joined him from Sye.

What were your contributions to Sye, Chatrapathi, Vikramarkudu, Yamadonga, and Magadheera?

I cannot really pinpoint and say, "This is my contribution" for any film as it's all a team effort. We all discuss everything and thus it's a combined effort.

But, there could be a significant change or scene (in your contribution) that helped the film on the whole?

Hmm... let me think! Originally, in the film Sye, Nazar wasn't related to Rajeev Kanakala and the later was just a coach. I suggested that Nazar should be Rajeev Kanakala's father, so that there's an emotional bond also and that it works better. In Chatrapathi, I suggested how the brothers should meet and the scenes that follow. In Vikramarkudu, I told how the kids irritate Attili Sattibabu who does not like kids. (When I was younger, I didn't like kids so much, and thus Nandi asked me to develop those episodes saying, "neeku pillalu anTE paDadu kadaa, andukani pillalaki sambandhinchina dRSyaalu annii nuvvE ceppu!"). In Yamadonga, we originally conceived that the hero knows about Lord Yama's disguise as Mamta Mohandas in the end. I felt that he should know it earlier itself, in order to justify the song Olammii, tikka rEgindaa!... better. I also contributed to some scenes before and after the interval in the film. In Magadheera, I proposed there should be an emotional dilemma to hero and that he gives importance to the horses and the horse saving him when he falls into quicksand, in order to show his bonding with the animal. I also suggested some scenes before the interval.

Kanchi with Sunil

Maryada Ramanna is a different plot point on Rajamouli's career graph. How did you manage to convince him with the story?

Actually, it is Nandi's idea and not mine. Even before Magadheera was completed, he felt that he needed to come out of the mould and thus announced that he'd make a small film with Sunil, which surprised everyone. He then called me and asked me to prepare a story to suit the idea, but was not sure what kind of story would be the right blend of the image that Rajamouli as well as Sunil have! Several discussions followed before Mullapudi Vara (writer Mullapudi Venkata Ramana's son and director of Naa Alludu and Vishaka Express) came up with the basic idea of the film that we all liked, and I then developed the story into a romantic comedy and action based entertainer taking that aesthetic yet a flimsy idea.

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The film seems to go around one house on the whole. Don't you think that the audience would be stuck in monotony?

Usually, Rajamouli's films don't have more than three scenes in one location, because Nandi thinks it'd be boring to the viewer to see the same thing over and over. But, the story here requires such a location-based theme and we thus took every precaution to ensure that the viewers don't get bored.

How did you plan the songs then, when the film has five songs in one location?

There are only two song situations initially; as the story evolved we came up with three more beautiful song situations, all of them thematically based barring one. Since Sunil is a good dancer, we planned for a hero introduction song to satisfy the audience who want to enjoy his dancing skills, and we have a duet on train, a song in a festive mood, an energetic background song and the other one is a dream song. On the whole, only one song is shot in the house!  Finally when Keeravani gaaru started the background score he added three more songs to the visuals and there are now eight songs in the film, including three new bit songs! This is all I can say before the release of the film... watch the film for more details (laughs).

What other differences can the audience note in this film and story, compared to other films from Rajamouli?

Usually, Rajamouli's films have a run-time of 2 hours and 45 minutes, but this one is only 2 hours and 8 minutes. Except that difference, even this film is going to be a complete entertainer like our other films.

Rajamouli directing a scene

Why does the film need graphics, when the film is neither a costume drama nor a socio-fantasy?

Nandi felt that graphics would add gloss to the film. Graphics are used to elevate certain scenes, but I don't want to disclose more now. Cinema is a fantasy world, and fantasy can be enjoyed better if there are secrets for the audience to uncover. I personally feel we have to hide certain aspects of filmmaking, such as the dwarf role of Kamal Hasan in Vichitra Sodarulu for example. At the end, everything is only to make a film more enjoyable.

So what's next for you?

My ambition is to become a director, and I am planning to proceed in that direction now. 
 

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