This meeting has been in the planning stage for a while, a year to be precise. When we finally meet, I find Vennela Kishore watching a movie on his iPad. “I watch at least one movie a day,” he tells me. From Indian films he’s missed out to some cutting-edge web series, there’s a long ‘to watch’ list. He’s visibly kicked about the response to his work in Chi La Sow and Goodachari. In the hour-long interview, he talks about his good and otherwise experiences in the industry and decodes his style of comedy.
Edited excerpts:
It’s turning out to be a busy phase in your career; isn’t it?
Definitely, more so after Ami Thumi. It was busy even earlier, I would shoot for 20 to 25 days a month. Now I shoot all 30-31 days a month, sometimes day and night schedules. If I was required to shoot for three to four days for a film earlier, now I get lengthier roles. I’m not considered only a comedian, but a character that’s involved in the journey of the story. The credit for making this happen goes to Indraganti Mohana Krishna’s Ami Thumi.
There was a time when I would be seen in a few comic sequences in the first half and disappear later. The recall value was lower and my family would be disappointed.
Indraganti, while talking about your performance, highlighted your serious approach to comedy. How do you approach comedy?
I cannot mimic people, make funny faces or distort the body language in the name of comedy. I prefer subtle expressions and improvise on dialogues given to me. 90% of the directors encourage this. It’s easier to improvise when I know my scenes a day in advance.
With Indraganti sir, we had a script reading two months prior to the shoot. We talked a lot. Also, when you work with someone like Tanikella Bharani, the spontaneous improvisations get better. The credit always goes to the writers and directors, because if the script doesn’t allow us that scope, there’s nothing we can do as actors.
I like the way actors like Priyadarshi and Rahul Ramakrishna make us laugh, by talking like normal people at a café; they are not the typical comedians.
- The big break: Sreenu Vaitla’s ‘Dookudu’ starring Mahesh Babu
- Little known fact: Uttej dubbed for his initial films after which Vennela Kishore convinced his directors that he would dub himself and carve his own identity.
- Coming up: An ad film with Mahesh Babu, films Amar Akbar Anthony, Saaho, Devadas, Mudra, a bilingual with Sundeep Kishan among others.
What happens when the writing isn’t good?
There have been occasions when I wasn’t given any dialogue and the director would say “just do something.” I am not a stand-up comic, I need lines and situations to build on.
How do you draw a line between creative satisfaction and working for monetary reasons?
I cannot always look for creative satisfaction. After working with Indraganti in Gentleman and Ami Thumi, the hangover lasted three months when I went to other film sets and expected similar depth in writing. Then I’d resign to what I get. I won’t complain though; I get treated well and I’ve worked in good films. Among the recent films, Keshava, Rarandoi Veduka Chuddam and others have showcased me in memorable parts.
I worked only for three days for Rahul Ravindran’s Chi La Sow and that small portion fetched me phenomenal response; I spent 15 days shooting for Goodachari and after Kshanam, this is another film where people appreciated me in a non-comic role.
In contrast, there was a film for which I worked more than 45 days and had a lengthy role. But my presence or absence wouldn’t have made a difference to the film and most reviews didn’t even mention my name. On Twitter, I get honest feedback. Someone tweeted to me asking me to not do such films just to make money.
Have there been lessons learnt on the way?
Quite a few. I’ve learnt not to accept a film without knowing my character. There have been occasions when I was cornered into shooting scenes I didn’t like at all. Now I turn down offensive lines and wriggle out of such scenes.
Comedy has a shelf life, so it’s nice to be able to do the occasional character role. Look at Brahmaji, he cannot be slotted into a particular role. It’s like he has a government job — stable, assured and relevant in any film.
Considering you’ve been shooting continuously, when was your last holiday?
Samantha gari punyam. I had a great time attending her wedding in Goa along with buddies (Adivi) Sesh and Rahul (Ravindran). When I told the director I want time off to attend her wedding, no questions were asked (laughs). Now Sesh, Rahul and I are planning another trip. A story I had written in 2006 is now with Adivi Sesh. He plans to rework it in a contemporary setting.
Who are the comic actors you look up to?
In Telugu, Brahmanandam and Sunil. I’ve lost count of the times I’ve seen Maska. Sunil is brilliant with comedy and I’m getting to see the magic he creates with Ravi Teja in Amar Akbar Anthony. Mr Bean (Rowan Atkinson), Jim Carrey and Johnny Lever are among my other favourites.
Tell us about your family background.
We have no connection with the film industry, except that I used to watch a lot of movies with my friends in Kamareddy district. My father retired when I was in class VII. Ours was a lower middle class family and I was the youngest, with four older sisters. It’s not a sob story. Dad educated us and sent me abroad with his pension savings. Going to the US was my way of escaping relatives who would enquire about my plans after B Com. I didn’t get good scores in GRE and TOEFL but managed admission into Ferris State University. Once in the US, I was conscious that I need to pay off the debts incurred for the fee, earn and have a decent bank balance.
My first film Vennela (2005) happened in the US so it was convenient. I took my time to return to India. I wanted to save money so that even if I were jobless for two years, I can meet my basic expenses. I also had a backup job offer in Mumbai for a year.
Sashi Kiran Tikka (director of ‘Goodachari’) mentioned that you gave creative inputs and there’s a good filmmaker in you.
He’s kind, but I don’t want to venture in that direction again (Vennela 1½ and Jaffa were directed by him). I am happy acting. But a story I had written in 2006 is now with Adivi Sesh. He’s taken it over from me (grumbles that Sesh hasn’t paid him yet) and plans to rework the story to a contemporary setting. I’ve also been discussing ideas with cinematographer Shamdutt (Vishwaroopam 2). In the long term, maybe I want to turn a romance-thriller I had outlined into a novel.