‘Save The Tigers  is a clean comedy’

Teja Kakumanu has had an interesting, checkered trajectory in the world of films. The student leader- turned-actor has a Masters in Performing Arts and an MPhil in Theatre from the University of Hyderabad, following which he has worked as an acting instructor for film actors. Teja has also worked on sets as a co-director, while acting in small-but-significant roles in Baahubali : The Beginning, Bheemla Nayak and much recently, in last year’s Mukhachitram. He will be making his directorial debut in the Disney + Hotstar Telugu original series Save The Tigers (STT), a tongue-in-cheek comedy series  centred around the plight of henpecked husbands. STT is available for streaming from April 27 onwards.

The title of your series, while catchy, is a far cry from the subject matter you have chosen to work with. Tell us more about STT.
STT is a satire on marriages and the war of genders. We wanted to talk about how real men, much like tigers, are going extinct because of how the former are constantly subjected to the whims and diktats of their wives. So, it is a call for action, packaged in jest. Men and women are so different from each other, their expectations and natures are directly in contrast with one another. This is a universal story, with lots of observational comedy. We have also tried to highlight the perspective of women in our series, it is not entirely about the men though. STT is a clean comedy, with little profanity and absolutely no vulgarity. You can watch the series with your entire family.

How did you get the opportunity to direct STT?
Post my studies, I used to be an acting instructor, that is where I met Pradeep Advaitham. He asked me to come work in the sets, in the direction department. I found it to be an exciting learning opportunity. My experience as a student leader came in handy during shoots, I am very good at managing crowds. I am unfazed by status and hierarchy, I can command 10 people or a 1000 with an equal amount of ease. I soon became known for my efficiency. Years later, Pradeep and I joined hands again, to work on STT. The idea of STT, though initially mine, was developed into a screenplay by Pradeep. He asked me to direct the series because he was busy shooting a film. That is how I ended up making my directorial debut. 

You have mentioned earlier about working as an acting instructor. How is it like to train actors? 
Acting is handling and balancing emotions. These theatre courses are primarily designed to train academicians, not actors. As an acting instructor for film, I ask people to dig deep into their bank of emotions. You cannot teach acting. As an instructor, you can only help them unlock their potential and get over their fears and inhibitions. Also, I trained actors for films. You do not have the luxury of extensive preparations and method acting on sets. I tell my actors that they should be like a white paper, always receptive and ready to meet the director’s actions and visions. 

How is transitioning from being a co-director to sitting on the director’s chair different from the skillset of someone who has not any experience working in sets?
Working in the direction department can be particularly beneficial for actors who wish to hone their craft. As far as direction are concerned, people who have never worked as ADs or co-directors, they enter the sets without the crucial knowledge on the management of sets. That is a reason why many films overshoot their budget. These directors do not know how to make cost efficient decisions. Set experience is essential. I don’t believe in shootingsomething in 360 degrees and then directing the film on the edit table. That is such a waste of money. These people are able to survive because it is the digital age. There is no way these people would have been filmmakers when things were shot on film. I respect producers. I am a producer’s director. If a producer invests 50 rupees, I should be able to give 100 rupees worth of output as a director.

What are the key differences you have seen while working in OTT and cinema?
Honestly. there is no difference in terms of making. One big difference I would say is that, unlike films, in OTT, your rushes are checked daily. It feels like you are sitting for an exam every single day. People think their life is easy once an OTT project is greenlit, but there are a lot of executives you are answerable to.

What is next in store for you? 
I am acting in Trivikram Srinivas’s SSMB28, where I am playing the role of Sreeleela’s brother. Trivikram has taken a shine on me since the time I have acted in Bheemla Nayak. He gives me a lot of love and appreciation and I am motivated to bring out my best because of his positive demeanour.