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After
15
years
of
struggles
and
rejections
in
Tamil
Film
Industry,
debut
director
Jagan
Vijaya
came
up
with
Asia’s
first
split
screen
film
Beginning
as
his
own
production.
His
clarity
about
various
crafts
involved
in
filmmaking
and
his
efforts
in
making
a
split
screen
film
are
just
amazing.
He
thanks
his
friends
and
family
members
who
stood
by
him
all
these
years
and
supported
him
in
the
production
of
this
prestigious
project.
This
split
screen
film
Beginning
is
literally
the
beginning
of
a
new
era
in
Indian
film
industry.
Director
Jagan
Vijaya
is
also
ready
to
produce
more
interesting
films
in
future
under
his
production
banner
Lefty
Manual
Creations.
The
director
gave
an
exclusive
interview
to
FilmiBeat
and
spoke
about
the
challenges
and
nuances
involved
in
the
most
unique
filmmaking
process.
Let’s
see
what
the
filmmaker
tells
about
his
Beginning.
What
is
the
reason
behind
doing
an
entire
film
in
Split
Screen?
I
wanted
to
simultaneously
tell
two
stories
that
happens
at
the
same
time
frame.
I
wrote
the
complete
script
keeping
this
as
the
basic
idea.
I
was
not
at
all
convinced
with
the
concept
of
telling
it
as
one
scene
after
the
other.
In
other
words,
we
are
presenting
two
films
at
the
ticket
cost
of
one.
Audience
may
find
it
difficult
at
the
beginning
to
get
hold
of
the
two
stories
but
within
just
five
minutes
they
will
automatically
get
connected
to
it.
In
fact,
I
wrote
the
script
in
a
way
to
feel
the
connection
while
watching.
To
a
certain
point,
it
will
be
clearly
two
separate
films
for
the
audience
and
while
the
connect
happens
they
will
realise
the
need
for
the
split
screen.
The
script
demands
the
split
screen
storytelling
and
we
didn’t
choose
it
just
for
the
sake
of
doing
an
experimental
film.
I’m
sure
that
the
audience
will
get
an
extraordinary
movie
watching
experience.
Why
did
you
chose
Vinod
Kishan
and
Gouri
Kishan
as
the
lead
actors?
I
was
looking
for
a
brilliant
performer
who
didn’t
do
such
an
innocent
character
in
his
earlier
films
so
that
it
will
automatically
create
a
wow
factor
for
the
audience.
Vinod
Kishan
perfectly
satisfied
all
my
expectations
and
his
powerful
eyes
impressed
me
a
lot.
We
did
a
10
days
workshop
exclusively
for
him
and
his
co-operation
was
just
tremendous.
In
Gouri
Kishan’s
filmography,
this
film
will
be
a
milestone.
I
felt
that
her
look
was
tailor-made
for
the
role
of
a
young
girl
working
in
a
software
company.
She
got
a
great
scope
to
deliver
variety
of
emotions
in
this
film
and
she
just
nailed
it
with
her
terrific
acting.
What
are
the
kind
of
films
you
want
to
do
in
future?
I
don’t
want
to
limit
myself
to
a
particular
genre
of
films.
I
already
completed
the
writing
process
for
10
scripts,
where
each
script
will
have
its
unique
way
of
storytelling.
And
I
would
love
to
experiment
a
lot,
particularly
in
the
screenplay
of
my
films
in
future.
Irrespective
of
the
genre,
you
can
expect
soulful
and
meaningful
films
from
me.
How
editor
CS
Premkumar
came
on-board
for
this
project?
He
is
already
a
well-established
and
brilliant
editor
with
a
tremendous
experience
of
editing
20+
films
so
far.
I
narrated
the
entire
script
to
him
thinking
whether
he
will
like
it
or
not.
But
to
my
surprise,
he
just
loved
it
and
appreciated
me
a
lot.
He
immediately
accepted
to
work
as
the
editor
of
the
film.
He
is
the
first
person
who
came
on-board
to
this
film.
His
patience
and
dedication
towards
the
film
can’t
be
explained
in
words.
If
we
make
any
changes
or
remove
any
particular
shot
in
one
side
of
the
split
screen,
we
have
to
equally
work
on
matching
the
duration
on
the
other
side.
It’s
a
minute
frame
by
frame
process
which
takes
a
lot
of
time.
Improvisation
in
all
the
other
departments
of
filmmaking
will
get
fulfilled
only
when
an
editor
understands
the
exact
reason
and
CS
Premkumar
is
a
master
in
the
craft.
Apart
from
editing,
he
helped
a
lot
in
promoting
the
film.
He
is
the
only
reason
we
completed
the
project
without
compromising
on
the
idea
of
split
screen.
He
believed
in
the
script
and
his
energy
level
always
motivated
me
whenever
I
was
feeling
down.
I
can
assure
that
this
film
will
make
the
entire
industry
talk
about
his
editing
skills.
He
suggested
me
the
other
technicians
and
guided
me
throughout
the
process
as
a
senior
technician
in
the
industry.
We
completed
the
shooting
for
one
story,
locked
the
editing
and
then
started
shooting
the
other.
We
faced
a
lot
of
changes
while
filming
the
second
story
and
we
use
to
come
back
to
edit
the
first
story
accordingly.
It
was
like
a
never-ending,
back
and
forth
process
but
our
editor
handled
it
really
well.
It
took
nearly
4
months
for
the
editing
process
alone
and
we
are
extremely
happy
with
the
perfect
output
delivered
by
our
editor
CS
Premkumar.
Do
you
think
this
idea
of
Split
Screen
will
work
for
theatre
audience?
Of-course!
This
film
is
purely
made
to
deliver
a
fantastic
theatre
experience
for
the
audience.
We
enjoyed
it
to
the
core
while
watching
the
complete
film
on
big
screen.
I’m
sure
that
audience
will
love
it
and
movie
buffs
will
definitely
re-visit
the
film
to
understand
more
about
the
nuances
of
filmmaking.
In
every
department,
the
amount
of
work
involved
for
the
film
is
twice
or
even
more
when
compared
to
other
films.
According
to
me,
planning
is
everything
when
it
comes
to
a
film
production.
But
we
really
struggled
a
lot
when
it
came
to
a
split
screen
film
for
the
first
time.
Even
though
my
technicians
were
well-versed
in
their
own
departments,
we
couldn’t
come
to
a
proper
conclusion
about
the
number
of
days
for
the
entire
post-production
process.
We
did
dubbing
alone
for
50
days
and
it
was
essential
to
bring
the
quality.
It
took
25
days
for
Vinod
Kishan
and
15
days
for
Gouri
Kishan
to
complete
their
portions
in
dubbing.
Music
and
sound
mixing
played
a
major
part
in
this
film.
Amount
of
work
involved
in
these
departments
were
too
heavy.
Cinematographer
Veerakumar
spent
a
lot
of
time
with
me
in
shot
division
and
rehearsals,
which
in
turn
helped
us
to
improvise
the
visual
storytelling
and
minimise
the
challenges
in
production.
This
is
his
debut
feature
film
as
a
cinematographer
and
nobody
will
believe
it
after
watching
the
film.
His
brother
Chezhiyan
is
already
a
well-established
cinematographer
andfilmmaker.
KS
Sundaramurthy
is
our
music
composer.
He
composed
music
for
the
project
with
an
idea
of
keeping
the
music
subtle
.
There
are
lot
of
important
emotional
sequences
where
he
chose
silence
as
the
key
element
and
it
brilliantly
worked
out
on
screen.
Tony
did
the
sound
mixing
for
us.
His
work
is
equally
important
to
the
music
composer
in
this
film.
We
worked
for
almost
75
days
for
the
sound
mixing.
.
What
is
your
take
on
lobbying
in
film
festivals?
Our
film
got
selected
in
15
film
festivals
so
far,
among
which
we
won
in
4
festivals
already
and
awaiting
the
final
results
for
the
rest.
As
of
now,
we
didn’t
face
any
lobbying
in
film
festivals
across
the
globe.
We
haven’t
applied
for
many
Indian
film
festivals
yet
and
that
may
be
the
reason.
What
is
the
scope
for
such
experimental
films?
If
audience
really
like
a
film
they
will
just
celebrate
it
and
their
interest
to
watch
more
good
films
will
automatically
increase.
Famous
producers,
actors
and
directors
should
come
forward
to
promote
good
films
and
its
makers.
They
shouldn’t
think
only
about
the
monetary
benefits
they
get
in
promoting
these
films.
If
this
happens
small
budget
and
experimental
films
with
interesting
screenplay
will
create
wonders
at
the
box
office.
Tell
us
about
the
difficulties
you
faced
during
the
production
of
the
film.
Since
I
wrote
the
script,
it
was
easy
for
me
to
work
by
having
both
the
stories
in
mind.
But
practically,
it
wasn’t
that
easy
for
all
my
crew
members
to
remember
what
exactly
happens
in
the
left
screen
when
we
are
working
on
the
same
duration
for
right
screen.
It
took
more
time
for
me
to
make
them
understand
and
that
was
the
only
major
difficulty
we
faced.
I
enjoyed
the
writing
process
and
completed
the
entire
script
in
just
16
days.
Kalki’s
Ponniyin
Selvan
novel
was
the
inspiration
for
me
to
write
the
script
in
this
particular
pattern.
The
three
legends
of
Indian
cinema-
MG
Ramachandran,
Kamal
Haasan
and
Mani
Ratnam
tried
to
make
a
film
on
Ponniyin
Selvan
novel
for
a
long
time.
The
novel
has
its
prime
focus
on
at
least
5
major
characters
at
the
same
time
frame.
I
see
this
as
the
major
challenge
for
the
three
legends
in
converting
Ponniyin
Selvan
novel
into
a
film.
This
thought
pushed
me
to
write
two
stories
with
an
interesting
screenplay
and
we
successfully
executed
the
idea
as
Asia’s
first
split
screen
film.
Finally,
director
Mani
Ratnam
is
now
ready
with
the
much
awaited
magnum
opus
Ponniyin
Selvan
1
and
I
am
eagerly
waiting
to
witness
its
magical
screenplay.
What
is
your
favourite
experimental
film
and
why?
Even
after
the
release
of
many
films
with
dialogues,
Charlie
Chaplin
believed
in
his
unique
screenplay
and
came
up
with
Modern
Times,
a
film
without
dialogues
again.
I
personally
see
that
as
the
best
experimental
film.
Nenjil
Ore
Alayam
by
the
legendary
director
Sridhar
is
my
another
favourite
film.
I
just
love
the
film
again
because
of
the
brilliant
screenplay.
So
according
to
me,
experimenting
with
unique
and
interesting
screenplay
is
everything.
What
is
your
take
on
big
budget
films
becoming
flop
at
the
box-office?
Some
well-established
film
producers,
actors
and
directors
do
a
lot
of
false
promotions
for
their
big
budget
films.
They
celebrate
success
party
in
just
3
days
of
their
film’s
release
just
for
the
sake
of
confusing
audience’s
minds
and
bringing
them
to
theatres.
Because
of
such
fake
success
party
stunts,
audience
who
didn’t
like
those
films
will
start
thinking
that
their
opinion
was
wrong.
They
are
also
made
to
believe
that
the
film
which
they
don’t
like
is
a
blockbuster,
which
again
prepares
them
to
go
for
another
big
budget
film
irrespective
of
the
quality
in
content
and
making.
Literally
these
so-called
big
films
are
cheating
themselves
and
the
audience
with
such
false
promotions.
It
is
also
the
audience’s
mistake
who
keep
wasting
their
time
and
money
on
such
big
films
but
not
looking
for
an
alternate
small
budget
film
which
is
really
good
in
all
aspects
of
filmmaking.
A
good
promotion
should
be
based
on
the
true
content
of
a
film.
It
shouldn’t
focus
only
on
the
business
of
a
film.
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