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15 Apr 2014
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Krishnavamsi, Official Site of Krishnavamsi

Krishnavamsi needs no introduction. Reputed as Creative director, Krishnavamsi directed many films that are critically and commercially acclaimed. His recent
2 ventures Sri Anjaneyam and Chakram fared badly at the boxoffice. Here is a one-on-one with Krishnavamsi in which he explains about his style of making, best and worst
in his career. He also talks about the industry and mistakes he did with his recent ventures.

Also, read his previous interview from Sri Anjaneyam time

What is your analysis of your career from Gulabi till Chakram

I dont know if I am a success maker or failure maker. But during Gulabi time, there was a struggle for existance as director. After Gulabi and Ninne Pelladatha, I
didnot have to look for offers. After those, I got the capacity and capability of making my own films. Thats how Sinduram happened. That is the point, I would say,
when the real journey of director started in me. What is cinema? What kind of movies should I make? Is it just entertainment or commercial proposal?
Is it a medium for making money? Or is it a profession. From such evaluation came out films like Sindooram, Anthapuram, Khadgam.

Now I am making Danger. Usually,
no other director would dare to make such a film. Because of films like Sindooram, Anthapuram, Khadgam, there is already a stage set for me to make films with liberty
and full freedom. In these films, you dont find any of budget, stars, markets, salebility associated with them.
These films standout in a different fashion. They are concept oriented and typical films. When such type of films come into a topic of discussion, people will
remember me. I enjoy that kind of reputation.
I never measured my career in terms of hits or flops or the money a film made. So as a film making director, rather than a money making director, I am happy about my career.

Can you quote the best and worst films in your career

Sindooram is definitely the best film so far. Sindooram is first and last best film todate. That is my opinion. I made few not good films but never made any worst films (laughs).

After Ninne Pelladatha, your stamina as a director grew. But you never made any films with big heroes. Exception is Mahesh Babu for Murari. But at that time he was
still a budding hero

Did you ever pose the same question to who you are referring to as big heroes? I tried my best with every hero. Then coming to your exception quote about Mahesh Babu.
I dont agree with that. Mahesh babu is not just a budding star at the time of Murari. He was already a big star. He demanded huge fan following even before
his introduction to the screen as a hero. Coming to the main point, the reason why I havent done films with other big heroes is that things didnot work out.
I have little patience as a director. If I get a thought or an idea, it has to get onto the sets immediately. I cannot wait. It is tough to get the
schedules of big heroes with such short notice. They will have their own commitments. So one has to wait, probably for an year, to even get the schedules.
I feel that such wait will dilute my thoughts.

Also, audience expect certain things from the stars. Thats why they are stars. So we have to come up with a script that would satisfy the requiremens.
You got to go out and make an out-and-out different film. From my understanding, there is only one film that tasted success even though made out of hero's image
and that was Annamayya. It was quite an attempt by K.Raghavendra Rao to make Anammaya with a star like Nagarjuna. The success of the film is a huge achievement.
Since K.Raghavendra Rao is a legend he could make it possible. Since Nagarjuna is a practical thinker, the project happened.

There might lot of other problems too
like remunerations, more physical work that might or might not suit everyone. So I go in search of the suitable characters for my films rather than trying to find
a hero. It doesnot mean that I dont make films with stars. I approach the hero with the story. If they accept it, it will get on to the sets. Otherwise, I will look for an alternative.

We heard that you are not usually in good terms with stars. Rumours are that you have ego problems with them. What is your outlook towards stars and stardom

My previous answer should answer this question too. It really depends on the comfort zone of the actors and the director. I dont have any ego problems with any actor.
Purely it is a matter of comfort, convenience and availability to each other. A star is always a star. He is being adored and worshiped by crores of fans and they cannot be
wrong. But as a director, I take a story to a hero. But I wont change my script for a hero and I dont wait. I have the urge to bring my thoughts on to the screen
as soon as possible. HOnestly, I have good friendship with all the stars. So what you heard are truly rumors.

Another complaint on you is that you dont tell anything to the producer. The say is that you dont consult producer for anything

It depends on the interest the producer has on the project. I respect the involvement of the producer and take him into confidence. I respect that.
I even gather the opinion of the office boy for my storyline, and you are saying that I dont consult the producer. It is an interaction and producer should commit his involvement too.
One cant hug himself.

Usually when directors produce their own films, the say is that they get more freedom. But your two productions, Sinduram and Sri Anjaneyam are failures.

In Sinduram you failed as just producer, with Sri Anjaneyam you failed as a director too. Do you think the director in you failed the producer or vice versa?

I would attribute the then conditions to the failure of Sindooram rather than a producer in me. After Gulabi, Ninne Pelladatha, audience didnot expect such
hard hitting film and issue based film. Sindooram is a typical honest film and experiemental film. After Ninne Pelladatha, they were expecting something similar.
But I went in a different path. Recently when Sindooram was screened on TV, I heard remarks and comments on how such a film could fail. Though Sindooram was flop, it paved the way for Anthapuram. Because of Anthapuram, Kadgam became a possibility.
So in a way, Sindooram didnot fail me. It just introduced me.

Coming to Sri Anjaneyam, the screenplay writer in me failed more than the director and producer. Sri Anjaneyam is a universal subject. Anjaneyam is one thing,
divinity is another thing. Relation between humans and divinity is another aspect. Humanity is another aspect. Human reaching the god is a different aspect.

Sri Anjaneyam has a wide scoped aspect of "Divine and Human", which I couldnot confine in the screenplay. Desperation started on me. Then I got into a state of confusion.
I didnot even understand what I was making. But I wanted to finish the project. I, finally, couldnot get what I was targeting.
So I failed as a screenplay writer. krishnavamsi is one of the best producers of Krishnavamsi. I never failed as a producer. Being a producer gave me lot of freedom and the
screen-writer in me made a disaster out of it.

Isnt screenplay part of director. How can it be the major reason for disaster

I am not sure on your understanding about the screenplay and direction. But from my perception, screenplay is an important thing. With good screenplay, even
a bad director can make a good film. With bad screenplay, even a good director will fail. I am not supporting myself for Sri Anjaneyam. I agree that it is a
flop. I am just telling you my analysis on what are the reasons for the failure.

You are saying that you dont worry about money. But do you agree that producers of Chakram lost majorly

I agree they lost money but I wouldnot say majorly.

Directors are enjoying the credit for a success and charging whopping crores of remuneration. But if a film flops, they take the responsibility. The
talk is that you took 3 crores for Chakram. Do you take any moral responsibility for that?

If your allegation is that directors are taking crores, you should try to see the role of both the director and the producer, and their role in such.
Are directors plundering the producers forecfully? You are talking about moral responsibility but if a film is a super duper hit, is the director given more
money? What do you mean by moral responsibility? If you agree that a film is a team work, do you think that
everyone should feel the responsibility and return their remuneration? If that is the way industry is working, I will return my remuneration without any

If a film fails, producer will lose money but a director will lose his career. A failure causes more damage to a director than a producer.
There are no moral responsibilities here. In this tinsel world, everything is glowing with a hit and everything blows with a failure. This is all part of the game.
How did you confirm that my remuneration was 3 crores for Chakram? Do you really know what was the deal in the first place? Those are all internal matters.

I definitely feel bad for the producers of Chakram. But I am not the first director to deliver a flop. There are hundreds of directors who gave some thousands of flops.

HOw do you define the relation between a director and a producer. Especially the talk these days is that the hero and director are alienating the producer.

People in the industry say that a director and producer are like wife and husband in a family. Frankly, I dont have such sentiments. Friendship and sentiments are purely
personal. For a film production what is needed in a director and producer is LIKE-MINDEDNESS and COORDINATION. As for your second remark about alienating the producer,
I partly agree with you. In the present style of film making in India, the producer has limited involvement and
that is definitley a fault in the system. A producer is the Boss of the project. He should play a constructive role in the production and not just be mere

Before going to the sets, the producers should have proper design like how long will it take for a scene, what kind of equipment is necessary and such kind of things.
Producer should sit with director and story-writer to chalk out the details. Based on that he should evaluate on how much it would cost and if he could really meet that.
He should analyze the market capacity then and should see if his budget is feasible. If a producer with such command comes on to the sets, the other technicians
would not dare to see a producer as an unwanted person on the sets. You can count such producers on your fingers. Producers should not be like proposal makers. If the producers
are making visits like a visiting-professor, ofcourse he will lose his respect there. Since the director and hero continue to be on the sets together, a kind of
rapport generates between them. This will give a false feeling to the producer. Usually in the present circumstances, every project will run under a leadership. Sometimes
it could be director, sometimes it is producer and in some projects, it is the hero.

Who are your best producers todate?

My guru Ramgopal Varma. He produced Gulabi and he is my boss. After Gulabi, it was Nagarjuna and Sunkara Madhumurali, who are my best producers.

You showed in your film Kadgam that heroines sleep with producers for film chances. Do you mean to generalise that? Also, did you point at one particular director?

That is an overall satire but I didnot generalise it. I know some of such circumstances.

Do you behave the same way with heroines

I dont do such feelless love and prostitution. In my view, love or sex should happen with mutual understanding but not for a necessity.
I never let such things come to me. I am not such a characterless guy.

You played satire of Babu in Khadgam. Well, even Nagarjuna is referred to as babu and he is the one who gave you a break.
How do you refer to Nagarjuna? Who is the Babu you were targeting in the film?

I call Nagarjuna as Babu. See, heroes like Balakrishna, Nagarjuna grew up in the filmdom. Their fathers ruled the industry for decades. As kids, when they came on sets,
others referred to them as babu and it continued along with them. That is quite natural. My satires are not targeted on "original Babus". Lately, big producers
are running behind young heroes referring to them as babu. So it was targeted on artifical babus.

How do you feel about media relations and Cinema? We hear that you intentionally avoid few media channels since they didnot support Kadgam.

There are never any great relations between film industry and media. Comparing to other industries, Tollywood is doing better off.
The reviews in the media, sometimes are tampered. It depends on many things.
Like if the ads are not given to a media, they write bad reviews. In relation to Kadgam, few media channels avoided writing about Kadgam because
the producer didnot give ads to them. Some of them even wrote bad about it. When the controversy became big, I wanted to explain and give my version of the film. But
But they were avoiding me. Then one thing became clear. Media has no effect what so ever on the fate of a film. Kadgam was undeniably a hit.
If people like it, they watch it.

2 years ago, we heard about Vandemataram with Chiranjeevi. What happened to the project? Is it shelved?

It is not shelved. We are still waiting for the right time.

Right time in what context? Is it from your side or Chiranjeevi's side?

Chiranjeevi has no second thoughts about it. I am all for it. I have an ambition to make a big film with him. It should not be a regular film. It should stand as a
life-time best film for me and a mega film for the megastar. That is a most classic and ambitious project. We are waiting for the right time. Thats all I can say.

That combination will be a rage. Any one will be excited to produce a film in that combination. What is pulling back? Audience are all excited about it. Dont you feel
that excitement

We are also very excited. That is why we are not acting in haste. If we wanted to make a film just like that, it will happen immediately. But it should be a memorable step, a mile stone.
It should be as big as a Lagan, a Kranthi, a Chengiz Khan and a Alluri Sitaramaraju. That film should set new standards. For such magnum opus, things will happen but

In your previous films, heroines were portrayed sensitively. In Sri Anjaneyam, Charmi's character became more like vamp

I did a big mistake with that characterization. I failed in designing the character of the heroine. I wanted the heroine to be dashing natured. But that was overdone and
looked like vampish. I respect women. I admire them. You will never see any heroine like that in my future films. Thats my word.

What is your word about video piracy

It is killing. It is ruining the film industry. I cannot explain the destruction it is causing in words. It became a threat to the cine medium.

Who are the heroes you are comfortable working with?

Prabhas and Mahesh.

We thought you would say Nagarjuna

I am not at the range of measuring my comfort level with Nagarjuna. We have an age and image gap. He is a big star by the time I became a director. In every way, his range is big.
With Mahesh, Prabhas, I share equal relationship.

Tell us about Danger

Danger is a completely new wave of film. In so many aspects, this film differs from traditional cinema.

Isin't it routine for every director to say that his film is different

How many ever times you hear the word, it is still the same word to express the feeling of "different". (laughs). It is upto the audience to decide
on in what way it is different from that of others. In DANGER, there are no songs, no love sentiments, no revenge elements and regular formulae. DANGER is a non-regular, dynamic,
adventurous film with a new dimension.

What is the concept of Danger

Danger is about 3 guys and 2 girls, who are friends. They face strange circumstances and their experiences following that is the storyline. It is based on a
true incident in Hyderabad. I wont say even a word more than that.

IS this an experiement

Experiment is a light word. This is a new invention. This will launch a new director in me. Danger is a challenge to the director in me.

Is this an effort to cover up the bad result of Chakram and Sri Anjaneyam

You can say that (laughs). Danger will be a new wave in different ways. This film is being made with new outlook. This will be a complete different film from my previous films.

Definitely this is a big film with novelty. Such type of film is never tasted nor tested on the Indian Screen. Coming to the budget,
there is not even one trolley shot in this film. No crane, no steady cam ever used.
Only one camera, torch lights and natural lighting. We made the film in 35 days and exposed about 80 rolls.

Sounds like a low-budget venture. Why didnt you produce it yourself?

I and Madhumurali share a wavelength. We have good understanding. We are like-minded and he is crazy like me. For a film that is being made with a passion, Madhumurali is the right producer.

How is personal life? What is your son's name? Ramyakrishna is now rarely seen in films. Is she not acting any more?

Personal life is fantastic. Ruthvik Krishna is the name of our son. As for Ramya Krishna, it is to her decision on if she wants to act or not. She saw an undisputable
career of 15 glowing years. She knows whether to act or not. I dont want to imply on that.

With this the interview came to an end. Krishnavamsi is known for being open, honest and straight forward. His answers (
read also his previous interview on Sri Anjaneyam),
speak for it.

About Danger

In Krishnavamsi's words, Danger is a breathless chase from the first frame of the film. There is no scope for even one song. So there wont be any songs in this film.
Most of the production was done in Hyderabad. Some part was shot in Vikarabad and Narsapur forests. Allari Naresh, Abhishek (Nenu fame), Sairam Shankar (143 fame), Swathi (TV Anchor Colors), Shirin (Juniors fame)
are playing the main lead in this film. Danger is all gearing up to release in October.

Interviewed by PRABHU

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