Vasantha kala paravai❤‍🩹

Suriyan part 2 eppa pannuvinga???

Pavitra Rishta Sarathkumar mookuthi Kasi padam Enna anandhu

Mukuthi kase padam eanna anathu

Thanks Eshthira TV and Shreemathi. I will list out my questions. Please ask these questions to him in next interview. Thanks in advance. 1. In an interview, director Shankar told he didn't have any idea of becoming a director when he was working as an associate director and had worked for almost 14 films under director SA Chandrashekhar. But Pavithran did only 4 movies with SAC, but within 4 movies, Pavithran decided to become a director and went on to direct Vasantha kaala paravai. That means Pavithran already had stories to tell and an understanding of script. How did Pavithran get confidence to direct his first film within 4 movies and how he wrote the story of Vasantha kaala paravai? Is there any influence behind the film. Did Hindi movie, 'Qayamat se Qayamat Tak' influence him? (By the way, Qayamat se Qayamat Tak is inspired from Shakespeare's drama, 'Romeo and Juliet'. 2. As a young director, how Pavithran convinced producer KT Kunjumon to produce his first film Vasantha kaala paravai? Tell those stories, please. 3. How did he come up with the idea of 'Suriyan' which became the base for Shankar's later big films. How did Pavithran think of a story entirely different from his first movie? Writing credits of Suriyan is given to Pavithran. Did he write it alone or Shankar has any role in the writing part of it? 4. Still photographer Ravi varma who introduced Shankar to KT kunjumon said it was from Pavithran, Shankar learnt the craft of granduer. Is that true? 5. Gentleman, the first movie of Shankar is based on the same patterns Suriyan followed - a hero hiding his original identity and fighting for a cause, a girl who falls for him platonically finding out his real identity in second half, lavishly mounted songs, flying cars and bikes, hardcore action sequences etc. Did Pavithran notice this similiarity in Shankar films? 6. In Suriyan, unlike typical hero characters in Tamil, hero didn't have any ego and was a very nice character. There is a scene where the horse riding dacoit comes and orders Suriyan to move and make way for him. Suriyan doesn't say a word and just moves away from the road and just looks at the horseman riding away! How did Pavithran stay true to writing and capturing such genuine scenes without any hero build up etc? Was that a conscious decision? 7. Suriyan had many bigger than big scenes - The bangalore fight sequence where Suriyan rides a horse on MG road, fighting on a bus and climbing on an advertisment flex board from a bridge etc. Such scenes became the main attraction for Shankar movies later. In gentleman, a bike flies over a train, in kadhalan helicopter lands in a temple etc. How did Pavithran conceive these scenes? 8. Pavithran's first movie, Vasantha Kaala Paravai, itself had India sentiments- on the wall of Shaily's (heroine's) class, it is written 'I love India' multiple times. Next film, Suriyan has a patriotic subject. Next film was literally named 'I love India'. Shankar's movies also later had this India sentiment, starting from Indian. Is Pavithran a patriotic person from the beginning? 9. Shankar's Kadhalan was a bit more updated version of Vasantha Kaala Paravai? Did he notice the similiarity? 10. Pavithran's Indu was a superhit. But it didn't have the standard of Pavithran's earlier films? Why is that? It has so many offensive jokes etc. What happened to his sensibility? 11. Why Pavithran is not doing major movies after Kalluri vasal? It's been more than 20 years. Shankar produced so many movies for his assistants but why a shankar pavithran reunion never happened? Is there a rift between them? 12. Kalluri Vasal was a very different movie - but it had a major screenplay problem. Audience usually wants to connect with a set of characters in the first 20 minutes and want to travel with them in the second half. But in Kalluri Vasal, even though all main characters are introduced in the first half, first half became Prashanth- Pooja love story and second half became Ajith-Pooja-Devayani love story. It kind of looked like two different movies. But its screenplay had so many interesting things. It didn't try to spoon feed things. When they first show Pooja bhat, Dancer Kalyan proposes her. Ajith and his friend enters the frame in a bike. In a close up of Ajith's face, we can see anger and a sad hindustani shehnai music plays in the background. He accelerates the bike and his friend stops him. And, Pooja happens to notice Prashanth for the first time in a dance song scene. Pavithran avoided all dramatic build of how a hero and heroine meets. It was different. And Pooja flinches and walks away whenever She happens to bump into Ajith and we are not told the reason. These things are exactly opposite to what Tamil cinema does in the name of 'establishing'. Pavithran thought very differently from other screenwriters. How did he write such scenes? His assistant and later director Selva also said in an interview that Pavithran always believed in doing scenes very differently. 13. I Love India movie spoke about ulfa terrorism activity in Kashmir region. Normally, movies show terrorists as muslim fundamentalists. But Pavithran was different there also. That time, people didn't know about Ulfa terrorism. Later, Mani sir made 'Dil se' with same subject matter but in a different way. When I watched I love India two years before, I noticed that Pavithran did so much of research to make this movie. Because so many dialogues reveal real problems happened in real locations of kashmir. And the film had no compromise. Film didn't have much comedy. Back to back very serious scenes. It would have offput the audience. Ask him to speak about the writing of I love India. 14. A request to him. He should update and watch the American movies releasing now and come back with a different film without old, typical commercial formulas. Still Ravi said Pavithran should have been a big director today. He was a big director in the 90s. Even in Kerala, his movies used to be released with posters, saying Pavithran's 'Indu', Superhit director Pavithran's Thiru moorthy etc. Distributors used his name because he was very famous even in Kerala after Suriyan.

@Aa-wn7hy

Жыл бұрын

wow sir, wonderfull questions, you have did a huge research on Pavithrans work, hope someone interviews Director Pavithran with these questions! sooo curious

I wanted to ask a lot of questions to Shri Pavithran. Can you include those questions and interview him one more time? I want to know a lot about films. The biggest blockbuster director Shankar learned the art of grandeur from him only. In fact, Suriyan is the kind of brahmanda film that made the framework of Shankar's first blockbuster films Gentleman. Shankar second film was an adaptation of both his Vasantha kaala paravai and American film 'Roman Holiday'. If you agree to this request, I will list out my questions here. Please reply.

@ESHITHAMEDIATV

Жыл бұрын

yes

@RunningWalking12

Жыл бұрын

@@ESHITHAMEDIATV Thanks Eshthira TV and Shreemathi. I will list out my questions. Please ask these questions to him in next interview. Thanks in advance. 1. In an interview, director Shankar told he didn't have any idea of becoming a director when he was working as an associate director and had worked for almost 14 films under director SA Chandrashekhar. But Pavithran did only 4 movies with SAC, but within 4 movies, Pavithran decided to become a director and went on to direct Vasantha kaala paravai. That means Pavithran already had stories to tell and an understanding of script. How did Pavithran get confidence to direct his first film within 4 movies and how he wrote the story of Vasantha kaala paravai? Is there any influence behind the film. Did Hindi movie, 'Qayamat se Qayamat Tak' influence him? (By the way, Qayamat se Qayamat Tak is inspired from Shakespeare's drama, 'Romeo and Juliet'. 2. As a young director, how Pavithran convinced producer KT Kunjumon to produce his first film Vasantha kaala paravai? Tell those stories, please. 3. How did he come up with the idea of 'Suriyan' which became the base for Shankar's later big films. How did Pavithran think of a story entirely different from his first movie? Writing credits of Suriyan is given to Pavithran. Did he write it alone or Shankar has any role in the writing part of it? 4. Still photographer Ravi varma who introduced Shankar to KT kunjumon said it was from Pavithran, Shankar learnt the craft of granduer. Is that true? 5. Gentleman, the first movie of Shankar is based on the same patterns Suriyan followed - a hero hiding his original identity and fighting for a cause, a girl who falls for him platonically finding out his real identity in second half, lavishly mounted songs, flying cars and bikes, hardcore action sequences etc. Did Pavithran notice this similiarity in Shankar films? 6. In Suriyan, unlike typical hero characters in Tamil, hero didn't have any ego and was a very nice character. There is a scene where the horse riding dacoit comes and orders Suriyan to move and make way for him. Suriyan doesn't say a word and just moves away from the road and just looks at the horseman riding away! How did Pavithran stay true to writing and capturing such genuine scenes without any hero build up etc? Was that a conscious decision? 7. Suriyan had many bigger than big scenes - The bangalore fight sequence where Suriyan rides a horse on MG road, fighting on a bus and climbing on an advertisment flex board from a bridge etc. Such scenes became the main attraction for Shankar movies later. In gentleman, a bike flies over a train, in kadhalan helicopter lands in a temple etc. How did Pavithran conceive these scenes? 8. Pavithran's first movie, Vasantha Kaala Paravai, itself had India sentiments- on the wall of Shaily's (heroine's) class, it is written 'I love India' multiple times. Next film, Suriyan has a patriotic subject. Next film was literally named 'I love India'. Shankar's movies also later had this India sentiment, starting from Indian. Is Pavithran a patriotic person from the beginning? 9. Shankar's Kadhalan was a bit more updated version of Vasantha Kaala Paravai? Did he notice the similiarity? 10. Pavithran's Indu was a superhit. But it didn't have the standard of Pavithran's earlier films? Why is that? It has so many offensive jokes etc. What happened to his sensibility? 11. Why Pavithran is not doing major movies after Kalluri vasal? It's been more than 20 years. Shankar produced so many movies for his assistants but why a shankar pavithran reunion never happened? Is there a rift between them? 12. Kalluri Vasal was a very different movie - but it had a major screenplay problem. Audience usually wants to connect with a set of characters in the first 20 minutes and want to travel with them in the second half. But in Kalluri Vasal, even though all main characters are introduced in the first half, first half became Prashanth- Pooja love story and second half became Ajith-Pooja-Devayani love story. It kind of looked like two different movies. But its screenplay had so many interesting things. It didn't try to spoon feed things. When they first show Pooja bhat, Dancer Kalyan proposes her. Ajith and his friend enters the frame in a bike. In a close up of Ajith's face, we can see anger and a sad hindustani shehnai music plays in the background. He accelerates the bike and his friend stops him. And, Pooja happens to notice Prashanth for the first time in a dance song scene. Pavithran avoided all dramatic build of how a hero and heroine meets. It was different. And Pooja flinches and walks away whenever She happens to bump into Ajith and we are not told the reason. These things are exactly opposite to what Tamil cinema does in the name of 'establishing'. Pavithran thought very differently from other screenwriters. How did he write such scenes? His assistant and later director Selva also said in an interview that Pavithran always believed in doing scenes very differently. 13. I Love India movie spoke about ulfa terrorism activity in Kashmir region. Normally, movies show terrorists as muslim fundamentalists. But Pavithran was different there also. That time, people didn't know about Ulfa terrorism. Later, Mani sir made 'Dil se' with same subject matter but in a different way. When I watched I love India two years before, I noticed that Pavithran did so much of research to make this movie. Because so many dialogues reveal real problems happened in real locations of kashmir. And the film had no compromise. Film didn't have much comedy. Back to back very serious scenes. It would have offput the audience. Ask him to speak about the writing of I love India. 14. A request to him. He should update and watch the American movies releasing now and come back with a different film without old, typical commercial formulas. Still Ravi said Pavithran should have been a big director today. He was a big director in the 90s. Even in Kerala, his movies used to be released with posters, saying Pavithran's 'Indu', Superhit director Pavithran's Thiru moorthy etc. Distributors used his name because he was very famous even in Kerala after Suriyan.

@SureshSuresh-ij8ll

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@@ESHITHAMEDIATV ninga dhna andha ponnu 😍