RJ Balaji on ‘Sorgavaasal’, redefining himself and teaming up with Suriya and AR Rahman for ‘Suriya 45’

RJ Balaji interview on ‘Sorgavaasal’, his evolution as a writer, actor and director, opting for genre-specific films, collaborating with AR Rahman for ‘Suriya 45’ and more

RJ Balaji is not one to forget his humble beginnings. His office is filled with awards and memorabilia he received in his past life as a radio jockey before becoming an actor-director. His earlier experiences on the road to achieving stardom are nuggets he shares in his interactions for his upcoming film Sorgavaasal.Excerpts from the conversation:

I’ve directed two films (Mookuthi Ammanand Veetla Vishesham) and wrote and almost co-directed one film (LKG). I realised I liked to act more as it takes close to two years to direct a film. I wanted to direct family entertainers and star in films that are genre-centric. Run Baby Run was one such experiment. While it’s not a cult classic, I liked it and we did it for the OTT space. We later had to release theatrically as well.

Sorgavaasal was made for a different actor but the team and its producer who is also a friend of mine, were in two minds whether to go ahead with that actor and asked for my feedback. I liked the story; it’s about a guy stuck in jail due to circumstances. The hero they had chosen initially has a well-built physique that wouldn’t invoke the sense of helplessness the character possesses. They were shocked when I said I liked the script and would like to do it. It’s because they had a general perception that I only do fun, commercial entertainers. They called Sorgavaasal a raw, action film but I saw it as an emotional drama with action sequences. Music director Anirudh is a long-time associate of the producer and I was told that he said I was the best thing to happen to Sorgavaasal.

The film initially had a lot of action but after I got in, they were willing to rework it and bring more emotion. I did not want a film in which I fight 10 people as I don’t have a body of work where I could do that. That’s not what my films are watched for. The collaborative effort brought in a sense of vulnerability to the character I play. That process spilt over to the casting as well and we could bring in actors like Selvaraghavan sir, Balaji Sakthivel sir, Sharaf U Dheen, Hakkim Shah and Sudani from Nigeria-fame Samuel Abiola Robinson.

I had no destination in the past, now or in the future. At the end of my career, I know my destination will be completely different from where I began. Like every normal middle-class guy who loves cinema, I took up the chance to act after being recognised for my work in radio. Only after taking up a role, I learnt that what I would generally make in a year was given as a salary for 10 days of work. After making this a profession, I wanted to do a good job at it and took a break from acting. Before LKG, I realised I liked writing a story more than filming it as it was chaotic to handle hundreds of people. I used to shout a lot, unable to take the pressure. But when Mookuthi Amman happened, I enjoyed making a film and became quiet on the set. Run Baby Run might not be a memorable film in terms of its box office returns but it gave me the confidence that the audience didn’t mind seeing me in a role where I’m quiet. I prefer not having long-term goals and do a good job of what I’m currently occupied with.

Poovizhi Vasalile was a complete thriller while Kadhalukku Mariyadhai was a romance; genre-specific films have always been there and if they are good, they do well. Mookuthi Amman is no cult classic but it became a comfort watch for many; even Gautam Karthik would often ping telling me he’s rewatching it. That’s why I wanted to do another family film and Veetla Vishesham happened. But in hindsight, I shouldn’t have taken a rigid call on what films I should stick to doing and allowed me to explore. Though it’s a remake, I still consider Veetla Vishesham to be my best as a writer. I believe we did a better job writing it than the Hindi version but I can’t bring in scale and grandeur for a film about an elderly mother becoming pregnant. So I’ve decided to focus on what I’m doing currently and if it’s received well, it will open new doors filled with surprises which I don’t want to avoid.

With Saravanan sir who I co-directed Mookuthi Amman and Veetla Vishesham with, it was a collection of two thoughts. I had a fear of helming a film on my own which disappeared after Mookuthi Amman. But it was fun working with Saravanan who was the opposite of me; I was spry like Kohli while he was patient like Dhoni. Then, he wanted to do his own film and I moved on to act. With Suriya sir’s film, I feel I’m more evolved as a filmmaker. Compared to my LKGdays, my ability to handle a big star with my writing and aesthetics has improved.