‘Mammootty gave his best in the first take, didn’t need more than two’: Bramayugam director Rahul Sadasivan

Scale-wise, Bramayugam is a bigger project than Bhoothakalaam. I wrote the story of Bramayugam before making Bhoothakalaam. However, I opted to make a smaller film first because I needed industry support to direct a bigger project. For this movie, I wanted to work with Mammootty Sir as well as some of the best technicians. It was a huge challenge to get the audience excited about the monochrome format. I also needed the producers to take the risk of doing a film in this format.

How was your first meeting with Mammootty?

It was a dream come true to get his time and sit with him. I was nervous but hopeful that he would get excited about doing a black-and-white film. I took about 15 mins to pitch the story and tell him the essence of his character. From his expressions, I knew that he liked the plot, the twists and structure. He gave me dates immediately. After that, we had a couple of script reading sessions.

Did Mammootty do any preparation before getting into the character of Kodumon Potti?

He understood the character very well and knew that his character was devoid of any emotions. His character required a sudden change in voice modulation. Even though his character mimics human behaviour, there is more to him. We worked on his mannerisms. Mammootty gives his best in the first take itself, so, it didn’t need more than a couple of takes.

How did you create his look for the film?

For a long time, I had a sketch of the character. When I showed it to Mammootty, and described how the character should be – with grey hair and walking stick, he said: ‘I can’t give you what’s shown in the sketch but I will try a similar look’. We tried different hairstyles and also darkened his teeth. On the first day of his shoot, he was inside the van, doing his make-up, while I was waiting outside. When he stepped out, Kodumon Potti was standing right there.

The mansion, where most of the action takes place, plays a significant role in the Bramayugam.

The whole mansion, as shown in the movie, is not a single location. The gate of the mansion is one location, while the foyer, where Mammootty makes his entry, is another. Interiors, too, are different locations. It was a huge challenge for the art director to bring that kind of realism to this fictional story. We tried to show a lot of texture even though it’s a black-and-white film. Other than the house, Nature is another key character in the film.

What’s your approach while dealing with fine actors like Revathy (in Bhoothakalaam) and Mammootty?

I take as much time as needed to do my research and think about the characters, and how they are going to behave. I share these thoughts with actors, who bring in their interpretation. That’s when magic happens. In the case of Bhoothakalaam, I wanted to show a mother who is dealing with social stigma and how it affects her. Once I finished writing the script, I knew the lead roles had to be played by Revathy Ma’am and Shane Nigam. I pitched the script only to them. However, for Bramayugam, I wanted Mammootty Sir and wrote the character keeping him in mind.

What about horror movies appeals to you and who are your cinematic influences?

I am a huge fan of Alfred Hitchcock and M Night Shyamalan. I also love Stephen King’s novels and elements of mystery in them. I have been influenced by Western filmmaking styles. I like Mani Ratnam for the kind of realism he brings to his films. I am a big fan of Ram Gopal Varma for the kind of horror films he made in the 90s and 2000s. How Satyajit Ray can play around with actors is amazing. I might be inspired by these masters and their energy, but I try to make my movies in my style.

Would you consider exploring other genres?

Definitely. I would love to do romantic, action or family films. But, at the moment, I believe I have more stories to tell in the horror genre.