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    I am a failure as director but hit as producer - Tammareddy Bharadwaja

    Thursday, December 21, 2006
    Afer Darsaka Ratna Dasari Narayana Rao, it is Tammareddy Bharadwaja is known for striving for the cause of the film industry, those work in the industry. He earned a good name as a director and producer and had several hits to his credits. He was able to maintain good relations both the managements as well as the working community. This great director, for the first time in his film career, had bagged Nandi award for his film ''Pothe Ponee'' as Best Feature Film. On the occasion, Indiaglitz met this director cum producer to learn about is experiences and comments on the film industry. Over to Bharadwaja.

    Tell us about your family and your entry into films

    I entered the film industry as the son of a noted producer Tammareddy Krishnamurthy. My father is a senior producer and made several films with many senior artistes. After completing the engineering course, I joined the Irrigation Department. As I have relationship with the film industry right from my childhood, I too thought of entering the film industry. But my father did not like it. Almost all the children belonging to the people from film industry used to settle in the US. But my activity was totally different from the routine.

    Tell us about your films

    As the son of Tammareddy Krishnamurthy, everyone in the film industry used to shower affection on me. Especially, Kesava Rao of Saikrishna Films, who is a distributor and producer, used to encourage me well. I turned a producer and made a film 'Kotala Rayudu' with Chiranjeevi. It has become a big hit and ran for 100 days. Later, I remade a Bollywood film 'Mann Chalee' in Telugu as 'Mogudu Kaavali' under the direction of Katta Subba Rao again with Chiranjeevi. It ran for 175 days. My third film is 'Maro Kurukshetram' with Madala Ranga Rao under the direction of my brother Lenin Babu. Next came 'Iddaru Kiladeelu' in the combination of Suman and Bhanuchander under the direction of Relangi Narasimha Rao. These two films have become flops. But these failures did not stop me from making films.

    When and how did you turn a director?

    After my failure as producer, I joined the job again. Again I remade a Hindi film 'O Mein Naheen' in Telugu as 'Manmadha Samrajyam' and this film also turned a failure. At this juncture Rajesh, brother of artiste Sri Lakshmi, asked me for a good story and produced 'Alajadi' in my direction. That film was proved a big hit and gave me a good break as a director. My next films like 'Dourjanyam, Kadapa Reddamma, Shiva Shakti and Nagajyothi' were proved failures again. This made me remain vacant for quite a long time. Next, I returned with a big bang with successive hits like 'Pachani Samsaram and One by Two'. Then I made 'Vetagadu' which took me to 15 years back.

    There are more flops than hits in your career as a whole. So how do you rate whether you are a winning person or not?

    When the result says that it is not, how can I claim that I am a winning person. But if you ask me, I can say one thing that I failed as a director but succeeded as producer, if you review my career as a whole.

    What is the reason behind your failures?

    There are three reasons behind my failure as director to my knowledge. One I did not get good making support from the producers. Most of my producers are new to the industry and inexperienced. So, being a director, I was forced to shoulder their responsibility which had adversely affected my concentration on direction. Secondly, when I started reviewing the right and wrong in my job, there was a conflict between confidence and overconfidence and the latter's domination is the reason behind my failure. Thirdly, I used to take up the problems and other controversies of the industry on to my head.

    If we say that you are only responsible for your failures what is your comment?

    Not only me. For anyone, the person who committed the failures is responsible for them undoubtedly. Not only here. The same rule is applicable at any place, But in my opinion, one should not point out some others for his failure.

    There is a remark in the industry that you are a little controversial? What is the reason behind such remark?

    I did never behave controversialy. But I took up some matters which were controversial in nature and hence I got the bad name.

    How did you turn a representative of film industry workers?

    Shifting of industry is different from achieving individuality and self-sustenance. The shift of the industry from Tamil Nadu to Andhra Pradesh had disturbed several film industry workers. They could either stay there or could come over here. So they started travelling on two boats which is dangerous and non-practical. So I thought of joining the disjointed film industry departments and units. In this process I have become little near to the film industry workers. At times I fought with big heads for the sake of the workers in the film industry. This gave me a tag of 'controversial personality'.

    Is it true you fought for film industry workers, though you are a director and producer?

    Dasari Narayana Rao is also belonged to the management category. Did he not fight for the rights on behalf of the workers and low budget producers. If the workers in the film industry are cheerful, the entire industry will be very happy. I am one among those who believe this principle. That is the reason I always strived for the rights of the film industry workers.

    What are the posts did you hold so far in your career?

    I worked as president and secretary of Andhra Pradesh Film Employees Federation, president of All India Confederation, worked for nine years as president of AP Film Directors' Association. Now I am working as secretary for AP Film Employees Cooperative Housing Society and managing member. I had also worked as Film Development Corporation director and vice-president of Producers' Council.

    It seems the small budget films did not get much benefit due to the withdrawal of slab system. What could be the reason?

    There are two main reasons for this problem. One is the competition from the dubbing films and the other reason is the theatre rentals. Even if the dubbing films are not banned, the government should hike the tax on them. The low-budget films should also be screened in theatres under percentage system. The government's effort in withdrawing the slab system will have some impact, if both these things happen. If the film is good to watch, it will have some life. The theatres should revive the earlier practice of exclusive screening of noon shows.

    What kind of suggestion do you want to give to the film industry?

    I don't want to give any suggestion to the film industry. But what I appeal to the people in the film industry is to maintain good relations and rapport with everyone.

    What is your opinion on ban of other language artistes?

    It is wrong to say to ban the artistes from other languages. Instead, you should make use of the local talent to the maximum possible extent. In one of the Tamil films, our Kota Srinivasa Rao played a role. While remaking the same Tamil film in Telugu, it is wrong to choose some other language artiste in his place as he was capable of doing the same here.

    Tell us about your entry into the film industry

    I worked as executive producer for 'Chatrapati' directed by Rajamouli with Prabhas as hero and 'Vikramarkudu' with Raviteja as hero under the same director. Now I turned a producer and is making a debut with 'Okkadunnadu'.

    How did the subject come to you?

    Director Chandu knows more about it. In fact, he prepared the subject an year ago by putting lots of efforts. When I thought of turning a producer, he narrated that storyline to me. I liked it very much and decided to produce it. The subject has come out in a superb way. Immediately I okayed the story and launched the project.

    Will you please brief the story for our readers

    The film runs with Mumbai in its backdrop. The hero's character reflects that there is someone who could do wonders. Several films came on the Telugu screen with Mumbai as its backdrop. But this film is not like that. It has a different screenplay and attractive to all classes of audiences. Everyone who watches this film would agree to this. The story and its movement would be very good than the earlier films done by Chandu. We are sure that the subject would be better than all the films in Chandu as well as Gopichand's film careers.

    Tell us about the hero's character in this film?

    It is an ultimate film for Gopichand. The body language of Gopichand in this film would be quite different than all the earlier films he did so far. Though it is a mass hero's role, Gopichand did not do one such character earlier. I am very confident to give this statement. One thing is very much sure that this film would place Gopichand in a high range as hero in his film career.

    What about the film's progress?

    So far we have completed 75% of the film shooting. We will complete the talkie part shooting by the end of this month. We will finish the canning of songs by next month. We are planning to release the film on February 9. We had already started the re-recording process from December 20. We are planning two of the songs abroad. The film was shot in Mumbai and Hyderabad. Another speciality of our film is that noted Bollywood director Mahesh Manjrekar is playing a role in our film.

    What is Mahesh Manjrekar's role in this movie?

    When we are thinking about a rich man's character belonging to a rich family in Mumbai, we thought that Mahesh Manjrekar would be apt for the role. We worked hard to get his dates. I am very happy that he agreed to perform a role in a Telugu film.

    Tell us about the songs in this film?

    MM Keeravani gave melodious tunes to all the songs in the film. We are planning to release the audio on January 15. They will be made available in the market by January 18. Meanwhile, three more songs are yet to be choreographed for the film. Of them, one song would be an item song and Agastya is expected to shake her legs. Two more will be canned on heroine Neha Jhulka.

    What about other technicians?

    We have chosen three fight masters for action scenes in this film. You will understand why we took a decision to employ different action choreographers after watching the action part in the film. However, our film has no chases but we will be choreographing the action scenes in a sequence.

    Tell us about director Chandrasekhar Yeleti

    Chandu is a hard worker. Though he directed two films earlier, they did not do well commercially, but he personally earned a good name as a director with a good taste. But this time, we planed properly and wanted to bring out a commercial hit film. That is the reason we are making this film as a commercial film. However, the film would be clean without any scope for obscenity.

    How far did you involve in direction?

    I just don't involve in direction department. I worked as an executive producer for Chatrapati and Vikramarkudu. So I took the responsibility of execution the film in an effective way. When it comes to this film, I am the producer and hence I am looking after production alone. Moreover, there is no need for the involvement of any others especially when the film is being directed by Chandu.

    What kind of cinema fascinates you?

    All kind of cinema fascinates me. It really transports you to another world. And you are able to take people’s imagination to an incomprehensible degree. It keeps improving all the time. It’s also a medium of pure entertainment. Tom and Jerry, Charlie Chaplin, Bruce Lee, Scoobie Doo, Rambo, Clint Eastwood, Jack Nicholson, Robert Deniro….Hinid films, Buster Keaton, Peter Sellers.

    What happened between ‘Monsoon Wedding’ and ‘D’?

    (Laughs) Because, Randeep Hooda realized that he sucks compared to other maha yoddhas in that film. I realized that I don’t want to expose my underdeveloped skills. And I never doubted my talent. It was just that I wanted to hone my skills. I consider it lucky that I had got an opportunity to work with Mr Naseeruddin Shah who has been very formative in my growth as an actor. In fact all my acting acumen is thanks to him. And he is very generous in saying that ‘I didn’t teach you anything…you just learned…’.And I’ve also found that I have a long way to go as an actor. It is an ever learning process for me.

    You’ve done theatre…what kind of reading have you done?

    No…I’ve never even read Shakespeare…I’ve read abridged versions of Shakepeare but I found that wordplay. But even all this theatre literacy I’ve gone for. It is the human literacy that transforms an actor and brings him closer to the audience whether it is theatre, cinema or whatever…Maybe at some stage of my life I shall start reading….

    But in ‘D’ you’ve internalized the pain…It’s very Shakepearean at times…

    ‘D’ I wouldn’t like to attribute to theatre at all. Although all acting is attributed to one another. ‘D’ I would attribute to this special kind of work that I do with Mr Shah…that I also teach at Film Institute now and then. It is about following the thought….To emote is not an actor’s job. It is to do what it has to do. To act is not to pretend. So, that’s the thought I picked up. I think I’ve failed a bit in ‘D’ and hopefully I shall cover up in ‘Risk’.

    What was your reaction when you listened to the script of ‘Risk’?

    I was like My gawd…I thought it was great…Movies like ‘Zanjeer’, ‘Ab Tak Chappan’ have been made in this genre. But when he explained the treatment to me and what kind of canvass he had in mind…I was like wow….Let’s go ahead…

    You’ve grown a moustache for the movie…

    That’s not a preparation…It is very cosmetic thing…I didn’t have to sit there and water my moustache…It just takes time….You just don’t shave….

    But then you couldn’t shoot for other films….

    That is something which was a risk…But I only do one film at a time…and I like to work with people who give me that respect that yes this guy is going to give his everything….Anything it takes….

    Your perceptions about your director Vishram Sawant…

    It’s a relationship which has gone beyond the friendship and the working environment…we bicker like people in a relationship. We do intense, high emotional, explorational work. And when it comes from an original thought which we haven’t picked up from somewhere. It becomes difficult to zero in on what we want to show to people. That whole process takes a lot. It is a very intense relationship. And I hope we get better and better….

    How is ‘Risk’ different?

    The difference is that ‘Risk’ is a very modern film in terms technique and treatment. The plot is not similar to other films. We are not preaching about the goodness, imaandari, system…we are making no statement on that. We are making an entertaining film set in realistic set up. The USP is its modern approach and that it is with the times.

    What is Vinod Khanna’s character like…?

    He is not dressed in a slick suit but it’s a very humane character. He has a Bombay centric lingo but he is not based in Bombay either…he is an emotional person….and that makes it even more interesting….

    How important is Box Office success for you?

    Box Office success is more important who will be working with me in the future. For me the process of making a film is most important. Box Office will come and go…Movies won’t be there in theatres for ever. But it will be alive for ever…And yes Box Office success hurt nobody.

    What kind of cinema fascinates you?

    All kind of cinema fascinates me. It really transports you to another world. And you are able to take people’s imagination to an incomprehensible degree. It keeps improving all the time. It’s also a medium of pure entertainment. Tom and Jerry, Charlie Chaplin, Bruce Lee, Scoobie Doo, Rambo, Clint Eastwood, Jack Nicholson, Robert Deniro….Hinid films, Buster Keaton, Peter Sellers.

    What happened between ‘Monsoon Wedding’ and ‘D’?

    (Laughs) Because, Randeep Hooda realized that he sucks compared to other maha yoddhas in that film. I realized that I don’t want to expose my underdeveloped skills. And I never doubted my talent. It was just that I wanted to hone my skills. I consider it lucky that I had got an opportunity to work with Mr Naseeruddin Shah who has been very formative in my growth as an actor. In fact all my acting acumen is thanks to him. And he is very generous in saying that ‘I didn’t teach you anything…you just learned…’.And I’ve also found that I have a long way to go as an actor. It is an ever learning process for me.

    You’ve done theatre…what kind of reading have you done?

    No…I’ve never even read Shakespeare…I’ve read abridged versions of Shakepeare but I found that wordplay. But even all this theatre literacy I’ve gone for. It is the human literacy that transforms an actor and brings him closer to the audience whether it is theatre, cinema or whatever…Maybe at some stage of my life I shall start reading….

    But in ‘D’ you’ve internalized the pain…It’s very Shakepearean at times…

    ‘D’ I wouldn’t like to attribute to theatre at all. Although all acting is attributed to one another. ‘D’ I would attribute to this special kind of work that I do with Mr Shah…that I also teach at Film Institute now and then. It is about following the thought….To emote is not an actor’s job. It is to do what it has to do. To act is not to pretend. So, that’s the thought I picked up. I think I’ve failed a bit in ‘D’ and hopefully I shall cover up in ‘Risk’.

    What was your reaction when you listened to the script of ‘Risk’?

    I was like My gawd…I thought it was great…Movies like ‘Zanjeer’, ‘Ab Tak Chappan’ have been made in this genre. But when he explained the treatment to me and what kind of canvass he had in mind…I was like wow….Let’s go ahead…

    You’ve grown a moustache for the movie…

    That’s not a preparation…It is very cosmetic thing…I didn’t have to sit there and water my moustache…It just takes time….You just don’t shave….

    But then you couldn’t shoot for other films….

    That is something which was a risk…But I only do one film at a time…and I like to work with people who give me that respect that yes this guy is going to give his everything….Anything it takes….

    Your perceptions about your director Vishram Sawant…

    It’s a relationship which has gone beyond the friendship and the working environment…we bicker like people in a relationship. We do intense, high emotional, explorational work. And when it comes from an original thought which we haven’t picked up from somewhere. It becomes difficult to zero in on what we want to show to people. That whole process takes a lot. It is a very intense relationship. And I hope we get better and better….

    How is ‘Risk’ different?

    The difference is that ‘Risk’ is a very modern film in terms technique and treatment. The plot is not similar to other films. We are not preaching about the goodness, imaandari, system…we are making no statement on that. We are making an entertaining film set in realistic set up. The USP is its modern approach and that it is with the times.

    What is Vinod Khanna’s character like…?

    He is not dressed in a slick suit but it’s a very humane character. He has a Bombay centric lingo but he is not based in Bombay either…he is an emotional person….and that makes it even more interesting….

    How important is Box Office success for you?

    Box Office success is more important who will be working with me in the future. For me the process of making a film is most important. Box Office will come and go…Movies won’t be there in theatres for ever. But it will be alive for ever…And yes Box Office success hurt nobody.


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