Air conditioners and production offices. As the freezing blast inside Studio Green hits me, I can’t help but wonder over that combination. It is way too cold inside. In stark contrast, the temperature outside hovers over 36C. Every five minutes, assistants swing into the waiting room to tell us that Suriya will arrive – in five minutes. Many ‘five minutes’ later, Suriya finally walks in. He greets us warmly, with a broad smile. We pull out dictaphones, and he jokes, “Oh, you’ve taken out your weapons.”
24 is an ambitious film. With time-travel as its core concept, the film boasts of technical finesse. The trailers have given us much to look forward to. As the lead actor and producer, what was the most exciting thing about 24 for you?
Anyone would want to listen to something new and exciting, right? I have immense respect for Vikram Kumar and his craft. He has never stuck to a single genre. [For us actors,] sometimes it’s a game of choosing the best script from what comes to us. I’m limited to acting. I cannot create my own stories, unlike Kamal [Haasan] sir. And doing remakes is not my first option. For every actor, [new and exciting] scripts come once in 3 or 4 years. I’ve always thought Bollywood actors are lucky that way. Technicians and creators from other languages bring in new content to them. There has been fresh content here too, but they’re limited to small scale productions. When it comes to big-budget films, we have not anything that was path-breaking or achieved cult status.
When Vikram Kumar narrated the story of 24, not just the characters, but the sets, locations, and ambience sounded interesting. I want to give theatre audiences a visually enriching experience. We wanted to make a unique film, something that would stand out from the rest.
You have done a number of commercial films, films that are considered ‘safe’ for a mainstream audience, even though the film may not have a long-term impact. What made you choose a science fiction film? Isn’t that a genre filmmakers have, thus far, been wary of?
See, actors do films, people watch, and then forget them. Take the Natchathira Cricket tournament. Many actors introduced themselves saying, “I have done these films”. That is the reality.
Take Kamal Haasan for example. Any actor would look up to him as an inspiration for creativity. He never dishes out excuses like, ‘There isn’t enough content in the industry’. He has created content. Or, he brings in technicians and filmmakers who can create good content. Movie making is about creating good memories. Some films don’t pass as ‘just another Friday release’. I think he has contributed to those kinds of movies.
Entertainers, hit films, and good films are separate entities. A hit film needn’t be a good film. Sometimes, I feel bad that I’m restricting myself. And there is pressure on me to do quality films. So I’m always chasing a lot of things. I wanted to do something different. 24‘s script satisfied that need for me. I’m never going to tire of doing such films. I admit that attempts like 7aum Arivu, and Maattrraan weren’t quite up to the mark. But my attempts have always been sincere.
24 has you in four different avatars: a geeky scientist, a gun wielding hit-man who is looking for watch, a watch-mechanic, and a frail old man. How did you prepare for these contrasting roles?
The film is Vikram Kumar’s baby. It has been his vision for years, and the roles are all author-backed. Vikram told me exactly what I had to do. When it comes to the role of Mani [the watch mechanic], I had to use all my charm to bring effervescence on screen. I used to juggle between these different characters in a single day’s shoot. I had to remain positive and ‘young’ in my mind, to make Mani seem authentic.
Last year, you entered production with 2D Entertainment, and produced two socially conscious films–36 Vayathinile and Pasanga. 24 is also being co-produced by you. How do you balance being an actor and a producer?
As an actor, I only see profits. I have only invested my time and energy, not my property and money. Whatever comes to me is profit, and that is what I invest when I produce my own film. But at the same time, I’m very insistent about the technicians and quality of my films. I want to give a great theatre experience to my audience. So in that sense, I have to say, the budget of 24 has gone overboard a little. (Laughs)
Talking about two roles in one, do you ever feel that the Suriya the ‘star’ overshadows Suriya the actor?
I haven’t had that internal battle. All I have in my mind is entertainment. But it definitely has to be intelligent. Take Masss for example. It was an unexplored concept in Tamil cinema. Same with films like 7aum Arivu and Maattrraan. We can start a film with a concept, but when technicians come into a project, it becomes a group of creative minds. Naturally, then there’s every chance of a concept taking on a totally new form. Only a few directors can have a hold on everyone and make sure they don’t deviate from his vision. Similarly, as an actor, I cannot cross a line that the director has drawn. So beyond the star/actor equation, I rely on the content.
At the audio launch of the film, you said something most actors wouldn’t say. You requested your fans to support only your good films, not the bad ones. What made you say something like that?
If the audience had been satisfied with films like Anjaan and Masss, I wouldn’t have pushed myself to do 24. In life, after a point, it is we who have to set our own targets and go after them. There won’t be anyone to hold our hand through it. When I got a negative response for my earlier films, I thought to myself–I’m letting the audience down. I’m not giving them what they want. That pushes me to do something, I don’t want to use the word ‘different’ because it has become such a cliché. Let’s just say this has been very special for us.
We can’t see you doing small-budget films with interesting content, like Nanda or Mounam Pesiyadhe. You even passed on the script of Kadhalum Kadandhu Pogum. Why?
Vijay Sethupathi suited that role. I sensed that even when I had just read the script. When good content comes my way, I still may not choose to act in it. That’s why I started production. I never disrespect good scripts. Production is my way of honoring them.
You joined Twitter late last year. How has the experience been so far? Do you have any advice for people who waste their time on social media?
I’m not my fans’ class teacher, you know, to bring order into the classroom. But I do feel sad for them. Everyone has just 24 hours in their life, no matter who they are. The age between 18 and 25 is when you are faced with a world of possibilities and opportunities. That’s when they can decide what they want to excel at. But they waste their time doing this. Later, when they turn 30, they would regret this. But, I don’t think they would heed anyone’s advice. So that’s the extent of my influence on them.
After a promising debut with Rakta Charitra, we never got to see you in a Hindi film. You mentioned earlier that technicians from other languages had great content. Why aren’t you doing a Hindi film?
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Emotionally I can’t get attached to Hindi, because I don’t know the language. Somewhere, I think I lack the drive to do a Hindi film. It’s all too mechanical. Even right here, we have great filmmakers and content, and I don’t have time for it. I don’t think I need to do Hindi films to prove a point. I didn’t find content from up there to be that exciting. It’s just not feasible to forgo a year of work here in Kollywood, there would be a vacuum.
Ten years down the line, what do you think film goers will make of 24?
I can never do a film like Aayutha Ezhuthu or Kaakha Kaakha again. I don’t know if 24 will attain a cult status like those films. Only time can tell. But I am sure that years later, if you see the film’s poster or image somewhere, you would be reminded of how innovative the film’s script and concept was.
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