‘Dear’ GV Prakash and Aishwarya Rajesh shake a leg for Thala Vali

CHENNAI: Brightly lit lights and food stalls welcome us on the sets of Dear. In the middle, we see the renowned choreographer Raju Sundaram reading the lyric paper and discussing the dance step with co-dancers. GV is all ears and even enacts it as he hears him out. Aishwarya Rajesh is seated behind the monitor and observes them. GV finishes the take in no time and greets us. He instantly says, “This is one of the best films I could have been a part of. When director Anand started the narration, I wasn’t sure of accepting the project. 15 minutes into it and I was in tears and didn’t think twice to sign the agreement. It has been a great journey with Dear.”

Aishwarya joins us but assistants tell her that she has needs to be in front of the camera along with GV. They both are seen sharing a good chemistry even as they rehearse. The duo finishes the take and joins us again. “This has been due for quite some time. GV and I haven’t worked together in all these years. He had composed music for Kaaka Muttai,” says Aishwarya. “Yes. But this is the first time we will be sharing screen space. Working with Aishwarya is a lot of fun,” adds GV. Aishwarya quickly adds, “We fight, we pull each other’s legs but as co-actors we pitch in with suggestions to elevate each other’s performance. When I say something, GV accepts and vice-versa.”

GV sees Raju Sundaram master getting his team ready for the next scene and the National award-winner says, “Master is a legend. His choreography is aesthetic and has elevates the music as well as the scene to a great extent. For instance, the Aa..aaa part you hear is something I added to the song yesterday, sitting in my caravan. I recorded it on my phone and sent it to master. He has come up with a good plan to make it look good on screen.”

Creative producer of Dear, Naren from Nutmeg Productions, organises what the direction team needs and says, “We have shot the film in just under 35 days. However, we have not compromised on the budget anywhere and have gone all out in getting what the director wants. As far as the cast goes, we have Rohini ma’am, Kaali Venkat, Thalaivasal Vijay, Blacksheep Nandhini, and Abdool playing important roles. The film revolves around relationships at various stages, and these are the best artistes, who could take the story forward.”

The set had a live food counter with several tables and a dhaba hut. Art director Pragatheeswaran has put the entire thing in less than a day. “We had two days on hand. However, rain played spoilsport and my team— two assistants and six carpenters pulled it off in half a day. It doesn’t feel like my first film. Everyone gave me the liberty to play around with the props. I received the call from the production team and not the direction team for Dear and we all got along throughout the shoot,” divulges the art director.

After the shoot is wrapped up at around half past three in the morning, director Anand and DoP Jagadeesh meet us. “Anand and I are friends since short film days. We worked together in an ad agency,” says Jagadeesh. “If I have some backend work on the sets, I can trust Jagadeesh and do my work. Coming to Dear, we have a brilliant team. GV and Aishwarya Rajesh made our work easier. They are wonderful actors you could have. Moreover, the entire film is made in live sync sound as we believed that would suit the best for the script. Even my previous film Sethum Aayiram Pon, was made in sync sound. I don’t believe in matching glitches using dubbing,” says Anand. As lights go off, one man is still seated and is seen working on his laptop. Editor Rukesh of Maalai Nerathu Mayakkam is handling cuts on location. “I was there on sets on all days and editing a rough cut simultaneously. It makes the process much easier when it comes to the final cut. What’s even more better is that we are all on the same page and know what each of us wants,” he concludes.