Anonymous wrote on 20 Jun 2011
Vasanth is a well-known Tamil director. His first film was the critically acclaimed film Keladi Kanmani, which starred the singing maestroSP Balasubramanyam. It ran for 285 days and considered one of the best films ever made in Tamil. He then directed Nee Padhi Naan Padhi, which had much talked about "Nivedha" song with 300 shots and the film was about unwed mother's issue. His next movie was Aasai (1995), which was a trendsetter and super duper hit that ran for more than 200 days. This film brought first success to actor Ajithkumar. Further actress Suvalakshmi was introduced in this film. It was produced by Maniratnam. His next film was Nerrukku Ner (1997), also produced by Maniratnam, which was a big superhit. Surya was introduced in this film. Poovellam Kettupaar (1999) in which introduced the combination of Surya and Jyothika and this film was Yuvan Shankar Raja's first musical chartbuster. Prakshraj's performance in Appu (2000) as "Thiru nangai" was the USP and the same was much appreciated. Vasanth's feel-good film Rhythm (2000) is considered a classic, mainly for its theme and realism by critics and public. The five songs featuring five elements were the talking point of this film, which was set to music byAR Rahman. Yei Nee Romba Azhaga Irrukkai (2002), in which he introduced 5 music directors, was a first time happening in Indian cinema. His recent venture Satham Podathey, was critically acclaimed and a blockbuster at the box office. Thakkayin methu naanku Kangal, which won the national award and critically acclaimed Visaranai Commission, a Sakithya academy prize-winning novel, are the other notable works in his career. Also he has directed more than 40 advertising films of multinational brands.He is Scripting Nadai Udai Bhavanai for his next venture. In an interview, "Film-making needs a lot of time and concentration. If you want some quality in your work, you have to spend some time on it.My mentor is K. Balachander and I learnt a lot during my apprenticeship days with him. Apart from my Guru, I've liked films of Mahendran for their realism, of Balu Mahendra for their natural earthy dialogues and Maniratnam's films for their technical gloss and style. I feel the story is the soul of a film. We have to do all the decoration no doubt, but the story is the most important factor. People nowadays give importance to the dressing only. Earlier we used to buy vegetables from the neighbourhood vendor. Now we go to AC rooms and buy them. But still the vegetables have to be good. So also, the story is important. But because it is a visual medium, it has to have visual richness too. And that is where one has to keep in step with growing technology. My personal view is that one has to learn the techniques of cinema before venturing into it. The trend these days is to ride piggyback on the talents of other technicians to give the impression of being a good director. But you can't survive that way for long. Earlier, there were good storywriters and there were films makers who knew the technique of filmmaking. But now, the writers are directing and vice versa.One good emotion and one good treatment. Dish out emotions like love and revenge, which our audiences identify with. Convey them in a straightforward manner"