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'A Mix Of Old And New Movie Stories – That's What Lakshmi Is' – Critics' Observation – Director VV Vinayak's Answer

Prabhu | April 27, 2006

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Of the seven movies that hit the screen under Vinayak's direction, Aadi, Dil, Tagore and Lakshmi turned out to be big hits. While Bunny had a good run, the Chenna Kesava Reddy and Sambha were just above average. It is to his credit that his movies never turned out to be the disaster that could make the producers broke. The director who had such a run of success is none other than the young Vinayak.

Directors who make successful movies with low budgets within the sphere of their limited abilities are considered 'minimum guarantee directors,' but those making mega movies with a highflying cast and heavy budgets are not complimented so. But Vinayak has the distinction of accomplishing high budget heavy stakes movies with guaranteed financial returns for the producers. He is acclaimed as a young and promising director.

On the occasion of the hundredth day celebrations of Lakshmi, CineGoer.com interviewed this young and capable director. His responses to our queries reflect his personality and his thinking which reveals his high sense of responsibility. So, let us go though the excerpts:

Mr. Vinayak, Lakshmi has certainly turned out to be a much better success than it was expected to be during its production stage. Could you tell us how much did it surpass your expectations?

Venkatesh's movies pick up popularity from the second week of their release. Everybody in the field knows it. The mark of his movies is that their appeal to the women audiences gradually increases and peaks up towards the end. They thus create a silent sensation. But if they are an instant success, sky is the limit. These were our expectations about Lakshmi too. But then its success has far exceeded our wildest expectations. The rushes had a wonderfully positive response. It was simply incredible.

What is the best compliment you have had for Lakshmi?

Public compliments are always genuine. On the third day of the release of the movie we were in Tadepalligudem. An elderly woman came out of the queue to me. Saying, 'How well you have taken the movie!' she snapped her fingers as if to ward off the evil spirits that might harm those concerned with the movie. Her sincere complement really thrilled me. Similarly the veteran director Dasari Narayana Rao after seeing the movie observed, 'You and your movie deserve this success, Vinayak. You have narrated wonderfully an old movie in a new way.' Such praises and compliments coming from a veteran like him really made me happy.

What are the prospects of Lakshmi revenue wise?

It sure is going to be the biggest of all Venkatesh's hits. A revenue of 22 to 25 crores is very likely according to our estimates.

How, where and when are you planning the hundredth day celebrations of Lakshmi?

We celebrated the fiftieth day of its run more grandly than a hundredth day bash. So we want to have the hundredth day celebrations to be a simple affair. We haven't taken a decision even on that as Venkatesh is out of town.

What do you say to the charge that Lakshmi is just an entertaining mix of some and old movie stories?

I agree. However, though audiences may feel that they might have seen some of the sequences earlier, the basic plot is really gripping. In Akula Siva's narration of the story, the hero is not the eldest son, but he discharges the obligations that a natural eldest son is expected to. This point impressed me a lot. We shaped the story of this movie by weaving some more points around it. Coincidences in the story of this movie with those in some other movies are purely accidental and not at all intentional. Neither the story nor the sequences are the photocopies of any other movie. Because of the following Venkatesh enjoys some sequences are felt to be reminiscent of certain old movies, but such similarities are just accidental.

The complaint is that your earlier movies too are old hat with old trends. Your comment?

I welcome the observation if it is the result of an analysis but not as criticism. No director in his senses would make a new movie out of old movies out and out. Inspiration, pattern and format do get repeated in making movies. If you think analytically you will notice that the movies that capture the imagination of the audiences are all movies that have repetition in their content or presentation. Repetitions and retolds have been great hits.

I am just not capable of experiments, or novelty in story and production. I am very good, however, at presenting in a very interesting, entertaining and new manner, stories with an old flavor. I am good at putting old wine in new bottles. But as most may think this isn't easy either. Besides nothing else and to none else do I give so much importance as to seeing my producer, my hero and my buyer in the safe zone. I am never for exposing myself or my producers to risk in the name of experiments or novelty. I always go by the minimum guarantee formula, however costly the production is. My struggle therefore is to show an old thing in a new light rather than to attempt showing a new thing in a new way.

How do you manage to be known as 'the minimum guarantee director' in these days of runaway production costs that make film production suicidal?

No special attempts to be known so. But I feel that a director should have regard to the minimum guarantee returns; that is, he must always be conscious of the safe limits for production costs. The director must be concerned more about it than the producer. Production costs can be in manageable limits if the director can draw a clear line of distinction between necessary expenditure and unnecessary expenditure. This ensures that the movie and all those concerned are well within the safe zone. The minimum guarantee is guaranteed. I always think on these lines and I never cross these self imposed limits.

A good number of young directors consider budget control an anathema. You have produced so far all movies with high profile stars. But none of the movies had birth pangs at the lab stage. We appreciate you for that. But then only when the production is disciplined can the release be without hiccups. What is your role as a director in the smooth release of your movies?

I don't have any role in the release of the movies. I memorize the script from day one. When I begin to shoot I can recite the script as thoroughly as a second class boy is expected to recite the multiplication table for two. The director's complete understanding of the script saves production costs considerably.

The second thing: the director must impose certain limits on himself in the matter of the exposure of the film. The director should further realize the difference between the last take that he okays after fourteen takes and the second take, and should realize too what he has achieved by taking so many takes. The film, after being assessed for the budget must be completed with a ten percent variation. It is not good for anyone if the film costs double it was estimated to cost. In my opinion the two things that assure us of budget control are script perfection and film exposure. Then follow the other requisites for a good production – discipline, punctuality, hard work and prompt payment. I am convinced that if these are there the smooth release and positive result are ensured.

Mr. Vinayak, how do you get a genuine feedback about your movies?

Even as an assistant director I have had good rapport with distributors and exhibitors. The movies that were known in the industry as super duper hits used to gross poor collections. Similarly movies expected to fail used to have good collections. There is absolutely no relation between the estimates we make in AC rooms and the actual assessment of the movie by the audiences at the theaters. We deceive ourselves by thinking that our estimates are correct. I do try sincerely to understand who I get the feedback from and how far it is genuine. We must receive failure and success with an equally receptive mind - this is my principle. If this principle is given the go by, it is dangerous. So in the matter of feedback I wait till I get a genuine feedback. I don't go by the first few days' acclamation of my movies.

In these days of vanishing distinction between the big stars and the not so important ones, all are getting involved in the production process. In the process the director finds himself in the position of satisfying the egos of the heroes. You have made movies with seniors stars like Balakrishna, Chiranjeevi and Venkatesh. You have made movies with juniors too, like NTR, Nitin and Allu Arjun. Now you are doing a movie with Prabhas. In spite of your making movies with such a variety of actors, you have never been the subject matter of disputes or complaints. What is the reason? Is it your compromising with them or their compromising with you?

This requires some explanation. No movie, as you have pointed out, can be completed without the ego of the heroes raising its head. 'Is it a positive ego or a negative ego? Is it an ego that contributes to the success of the movie or causes the failure of the movie?' If all concerned can decide upon this, making the movie a success will be goal of the egos or all.

I have done three movies with three senior stars. Stars naturally are a bit particular about their roles. Always conscious of the boundaries of their images, they suggest that we do it this way or that way. Such suggestions are backed by their experience of acting in a number of movies. They are capable of suggesting on the spot improvements to a dialogue or a shot. Why should the director then hesitate to accept the suggestions? Supposes the director resists it; what happens? The producer is sandwiched between the two. At the most the star may try to improve upon the dialogue or the shot on ten or twelve occasions. Accept them. Have your way and show your prowess in the rest 70 odd scenes. This is my analysis of the clash of egos.

For example, I did 'Tagore' with Chiranjeevi. He gave me his view point in some of the scenes. I welcomed them. Similarly when I expressed my point of view, he said, 'That's good. Go ahead.' He knows how to convince others and how to be convinced. It is just a matter of mutual respect. So in the case of senior actors, young directors like me should have the refinement and self control to respect their opinions.

When we make movies with young heroes too, we face such problems. That might be due to their young age and lack of experience. They often take Hindi actors as their role models. 'In such and such a movie Aamir Khan had this make up, and such and such a villain acting by his side. So why don't we do the same?' they insist. We can convince them if they are knowledgeable. We have to cajole and coax them if they are not that knowledgeable. My only motto is that nothing should make the producer suffer. Precisely because I think without ego about egos, I do not face any problems while dealing with seniors or juniors. This is true not just about me, but about any director with a positive attitude and positive thinking. This is my conviction; concluded Vinayak who symbolizes humility and success.