ART DIRECTOR RK VIJAIMURUGAN INTERVIEW

Home > Interviews

"PARTHIBAN IS A SMALLER VERSION OF BHARATHI RAJA", ART DIRECTOR VIJAIMURUGAN

Interview Team : Jyothsna

In this second part of interview, eminent Art Director Vijaimurugan discusses about his profession in detail, Bharathi Raja’s influence, what made him work in front of the camera and many more with Senior Editor Jyothsna Bhavanishankar.


Part 1 of the interview can be accessed here


PHOTOS & STILLS - GALLERY



 

Have you at any point of time repented your choice of profession?

 

It is a good question. I entered the industry in 1997 and within few months, strike between creators and FEFSI began. That was the time I started as an apprentice to art director Mohana Mahendran in Saran’s Kaadhal Mannan and had already completed two schedules in the film. I never belonged to any association then and hence Saran wanted to take me to Delhi for the outdoor shoot. We shot for 20 days there and it was a good experience. There was no art director or assistants or apprentices. I was everything rolled into one. After the film, everybody appreciated my work and I started believing that I know art direction. Mohana Mahendran also began introducing me wherever he went as his replacement. He was quite busy then and I used to work with him in all his films. I was kind of settled and thought this was cinema and I had mastered it.

 

That’s when he sent me to Bharathi Raja’s Kadal Pookkal. The film was shot completely outdoors and the shooting was scheduled at Muttom, near Nagercoil. I was hesitant to go but somehow reached the place with a mindset that I would leave soon. Looking Bharathi Raja at work for two days I realized I was completely useless as regards cinema. His dedication and mastery on the nuances of the medium totally floored me. He was analyzing cinema thoroughly. I was trying hard to be in the same page as him. I realized I had never bothered to widen my knowledge and had remained stagnant and in a way complacent. That was the point when I repented about being in the art direction as I felt I was not equipped at all.

 

I made up my mind I should never leave that place and the film and worked there for almost 60 days. After around one week, looking at my enthusiasm, Bharathi Raja became almost like my friend. My honesty and admittance that I knew nothing, impressed him. He started teaching me and we developed a good rapport. Kadal Pookkal was my first village based film.

 

After I came back from Muttom, I told Mahendran that I was planning to take a break from art direction and learn more. I started studying about various aspects of art direction and grasped about something called ‘World’ cinema. I read many books on art direction and added depth to my knowledge.

 

Bharathi Raja became almost like my friend

 

Parthiban’s Kudaikkul Mazhai

 

Then came Parthiban’s Kudaikkul Mazhai which was something like the destination of my search in art direction. There were some financial pressures (in the film) which were quite challenging which made me feel that if could not do anything, nobody in the world will be able to do that. Parthiban and I share a great mutual respect but we don’t keep shouting that from our rooftops; it is something that is understood. We have worked in Kudaikkul Mazhai, Vithagan and the recent Kadhai Thiraikadhai Vasanam Iyakkam.

 

Parthiban is a smaller version of Bharathi Raja. His efforts are mind-blowing. From him, I learnt involvement in ones’ work and the hard toil. My output in the film was much appreciated and it gave me the ultimate happiness. This film took me closer to technicians who I never ever imagined that I would meet or interact in my life. And from this film, my career graph began to soar. 

Parthiban and I share a great mutual respect but we don’t keep shouting that from our rooftops

 

You have been in the industry for a long time. Do you find there is a difference in approach between old time directors and the present ones?

 

I acquire a lot of experience from the current directors. In the earlier times, directors may be well versed in their sphere but they would need help on the technical front. I learn a lot of finer details working with the young crop. For the past two years I have been associated with Saravanan in Engeyum Eppodhum, Ivan Vera Maadhiri, Sargunam’s Naiyaandi, Karthik Subbaraj’s Jigarthanda, and Velraj’s Velai Illa Pattadhari. It has been a good experience.

I learn a lot of finer details working with the young crop

 

Art Direction – What does it need?

 

There is a general notion that art direction requires a lot of money. But actually it is not so! All that you need is an astute brain to work around a situation and use it to your advantage. It is brain first and then money. I learnt this in this journey of mine in the industry. 

It is brain first and then money for art direction

 

From among the current art directors, who is your favorite?

 

There is no guru here. Neither I nor others are super here. The script has to happen. There are quite a lot of intelligent people and they have to make use of the opportunities. When Karthik Subbaraj brings a gangster script and we all sit together for discussion, we decide that it should not be a usual gangster flick. The discussion brings out a new color to the script. 

There is no guru here 

 

Till some time back, recognition to art direction was not given. But the situation has changed now. What is the reason for this? 

 

Thotta Tharani and Sabu Cyril are responsible for art direction being recognized and given its due. After they came in, art work began to come to the fore. Now people are aware of our work.  

 

Art Direction – should it be visible or not?

 

It should not be. I will tell you one incident. In a market place like Koyambedu, you will see variety of posters which would keep sprouting every now and then. When I started my work in Golisoda I told my assistants to first rip off all the posters for two reasons. Firstly, there would be political posters and if seen in the film, people may misconstrue that. Secondly, on personal posters like marriage or death, we would face continuity issues. If it were for cinema posters, I can source them but not other kinds. Milton also was wondering why I was going overboard on this.

 

But later, after the film was released, in a forum discussion on Golisoda, a gentleman wondered about the absence of posters in the film and asked if it was a conscious decision or it just happened. I am saying this to emphasize the fact that people notice art work well and are quite aware of the happenings. So these things make us more responsible. 


I told my assistants to first rip off all the posters

 

Which directors you would like to work with?

 

I am keen to work with Vetri Maaran, Bala and Selvaraghavan. I can learn something new and can establish myself. 

I am keen to work with Vetri Maaran, Bala and Selvaraghavan 

 

So, when things seem to go well on the art direction front, what made you turn into an actor?

 

It’s all because of Milton! He first started Golisoda with a trial shoot and one day frantically called out to me for some help. He had to shoot in a place on a particular day but the place was not ready. He wanted me to ready the spot. After I understood his needs, I readied the spot with available resources. He was able to carry on with his work and was thankful and was appreciative of a technician’s value. He wanted me to come on board as art director for Golisoda but I declined as I was working in Ivan Vera Maadhiri then. All the same I told him that I would be willing to help him.

 

Next day, Milton invited me to his sets just to watch the shoot and I did that. A few shots were being canned under fight master Supreme Sundar who came to me after a while and said that there is an important role in the film that the director wants me to do but is quite hesitant to approach me directly. I had no such desire any time in my life and I declined.

 

Later during lunch with Milton, he again pressurized me into taking up the role. It so happened that they had shot me without my knowledge and Milton showed the clippings and said that this is what he wanted for his character. He had observed me and felt I would suit the role well. He was also being flexible saying that I can shoot at my convenient time and that there would be no pressure. He was very persuasive and handed the script to me.

 

The script impressed me to work as an art director. I am always in search of something new. I don’t need ten houses or ten wives or ten servants behind me but I need ten good films at the minimum to proclaim my name. I thought about it. It was a good script, good character and also a friendly director who is willing to give me lot of flexibility. So, why not?

 

I had made up my mind but did not tell Milton. I came home and discussed with my wife. She was completely against my acting and said NO.  After few days Milton said that he has finished all other portions except mine. Finally I went to the shooting spot but told Milton that we would just try and if things don’t work out, we can always try someone else.

 

At the sets, people kept clapping for whatever I did and I was sure they were making fun of me. I told Milton that even if he had made some corrections in my performance, it was OK but to cheer for every action of mine with a ‘super’ was something hard to buy. I thought they were all having fun at my expense. But Milton said this is what he had expected, not a notch above, not a notch below. That’s how my acting began.

 

Of course there were some minor struggles but I managed and people liked my work. Generally women don’t like villains but many women liked my performance. My wife who was against my acting, also liked my performance. It is important that my work reached the audience. There was much appreciation from media too. I am happy.

 

Are you working in Balaji Sakthivel’s film Ra Ra Ra Rajasekar?

 

Yes, I am doing a very important role in the film and most of the shooting is complete. 

 

Now that you have started dabbling in acting too, is there a plan to change your line of work?

 

I have no plans to change as such. I am getting quite a lot of opportunities to act now which I did not get earlier. All the same, I would only do good characters and not everything that comes my way. Even if it is just four scenes, my role should powerfully register in the minds of the audience. That’s what I am looking out for. 

 

Thanksgiving

 

I am fortunate to have worked with directors like Karthik Subbaraj, Milton, Saravanan and Parthiban. I was first inspired by Bharathi Raja and I am thankful to all my directors. If it had not been for them, I would not be in the position that I am today.  

 

Here is wishing Vijaimurugan all the very best!

 

 

 


FACEBOOK COMMENTS

ABOUT THIS PAGE

This page hosts exclusive interviews with actors, actresses, film technicians and related celebrities. The interviews are generally personal views of the guest about their projects and film related matters. People looking for information about actors, actresses, directors, music directors, cameramen and other technicians will find this page useful.