Break or brake?: The formula behind successful films

CHENNAI: Maharaja, Meiyazhagan, and Amaran were among Tamil cinema’s biggest hits of 2024. Coincidentally, all three films marked these respective directors’ return to the industry after significant gaps, sparking discussions on whether longer intervals between projects enhance a film’s quality. Nithilan Saminathan (Maharaja) and Rajkumar Periasamy (Amaran) returned after seven years, following their acclaimed debuts with Kurangu Bommai and Rangoon in 2017, respectively. Premkumar (Meiyazhagan), renowned for his striking debut with ‘96 in 2018, came back with his second feature, once again delving into interpersonal dynamics between characters.

The pros and cons

Reflecting on the extended gap, Premkumar shares, “I wrote several scripts after ‘96, but none progressed beyond the writing stage. COVID-19 was a major disruption. If not for lockdown, I might have had two or more releases.” Rajkumar similarly notes that he planned a project after Rangoon, but it didn’t materialise. He also clarifies, “There’s a misconception that I worked on Amaran for seven years. That’s not true. Spending more time on a project doesn’t guarantee success.” Nithilan also dismisses the idea that longer production times ensure better results. “If that were true, every film with a lengthy development phase would be a hit, but that’s not the case,” he observes. Instead, he prefers to let the filmmaking process unfold naturally, without rushing.

Influence on writing

Regarding the influence of longer breaks on the writing, Rajkumar states that Amaran’s script was finalised in 2020, and in 2024, they presented exactly the same version on screen. “We locked the script well before actor Sivakarthikeyan came on board. Unlike many Tamil directors, we didn’t adopt a reverse module approach,” he says. Nithilan points out that some stories inherently require more time. “Vetrimaaran, for instance, is from Chennai but crafts films like Aadukalam, which is deeply rooted and has a rural backdrop. Such projects demand extensive research,” he explains. Premkumar, much like Rajkumar, completes a full draft before pitching it to actors. However, he uses extended breaks for refinement. “The more time I get, the better the result. If I had gotten an extra year for ‘96 or Meiyazhagan, I could have only made them even better,” he reflects.

Patience is the key

Premkumar states he remained hopeful during the time gap, attributing his resilience to fellow directors. “Thiagarajan Kumararaja made Super Deluxe nine years after Aaranya Kaandam. That serves as an example for us. Also, financially, I’m lucky to have supportive friends who help when needed,” he shares. Nithilan and Rajkumar echo similar sentiments, expressing no fear of losing time. The Maharaja director states, “The only challenge comes from financial struggles. Otherwise, I enjoy working at my own pace and freedom.” The Amaran filmmaker adds, “I set deadlines for every stage, including research, writing, and so on, and worked toward them. It never felt like a long break. Additionally, I kept working on Bigg Boss Tamil after Rangoon, which was valuable.”

Next project

When discussing whether their next projects could begin soon, Nithilan emphasises that while he doesn’t want to rush, he has commitments to fulfill and feels responsible to work within the timeline. Premkumar, currently working on ‘96 Part 2, aims for a quicker release. “I wrote the script for the sequel before Meiyazhagan. Hence, nearly 90 per cent of the writing is already over,” he explains. Rajkumar, too, utilised the extended break to work on multiple scripts, and one of which will be his next with actor Dhanush, bankrolled by Gopuram Films.