Nivetha Thomas nonetheless remembers the precise second from her first dialog with director Venu Sriram which satisfied her to be a part of Vakeel Saab, the Telugu remake of Pink. The movie has Pawan Kalyan reprising Amitabh Bachchan’s function in this model, whereas Nivetha might be getting into Taapsee’s footwear. “It was my character’s identify — Pallavi — which obtained me hooked onto Vakeel Saab once I first heard the narration. That was my character’s identify in Ninnu Kori too. However I saved pondering, the lives of those two Pallavi(s) are so different from one another, though they share the identical identify. There are such a lot of folks round us who undergo what Pallavi goes by means of in Vakeel Saab. This movie gave me a probability to voice out all that frustration and anger. That’s what saved me going all through the journey,” Nivetha Thomas says.
Excerpts from the interview :
Pink is a common and critically acclaimed movie and Taapsee earned rave evaluations for her efficiency. And later, Shraddha Srinath reprised the function when it was remade in Tamil as Nerkonda Paarvai. How do you make a common character like that your individual and make it look unique?
I cherished Pink when it was launched in Hindi and I watched it twice. I keep in mind each scene of the movie fairly vividly. I haven’t seen the Tamil model. So, once I got here onboard Vakeel Saab, one of many issues that I consciously did was not revisit Pink once more. Though Vakeel Saab is a remake of Pink, it has a soul of its personal and its beats are very different in contrast to the Hindi model. The language is different, and the background that the characters come from is different. Even the scenes usually are not in the identical order in contrast to the Hindi model. We had temper boards for each scene and even throughout filming, I may really feel the distinction as a result of what we have been doing in Telugu is a lot more hard-hitting and emotional, however in a very different sense. All that comes from the change in the beats, which displays in the performances and the edit. It’s true that the story has been modified to swimsuit Pawan Kalyan’s star picture, however the core thought and fundamentals stay the identical.
From my finish, I attempted to make Pallavi look, really feel, and sound extraordinarily plausible. I wished the viewers to really feel her ache, with out going overboard. In case you have a look at the courtroom scenes, we shot all that in a couple of weeks, however courtroom trials would often take months to unfold. I had to discover a steadiness with respect to how realistically I can do all that as a result of a lot of time has handed in between. I used to voice out all the things I used to be feeling to the director (Venu Sriram) as a result of he ought to know why I’m reacting in a sure method. All this makes a large distinction whereas performing in a scene.
Your character, Pallavi, goes by means of a lot of trauma and turmoil in the story. Did you may have to internalise all that trauma? How did you cope with it?
I had to deal with it as a story, the place an unlucky incident has occurred in her life, as a result of if I internalise all that, it’s actually unhappy and exhausting to cope with these feelings. Sadly, each girl goes by means of it in some type or one other. There was a second whereas we have been filming the courtroom scenes, and I requested myself, may I’ve gone by means of the identical feelings as Pallavi? The conversations between Pawan Kalyan and Prakash Raj in the courtroom made me suppose how shut the movie is to actuality. That’s when it hits you that the movie is a lot more than that. By means of the shoot, each morning, I used to comply with a ritual. I’d inform myself that I would like folks to really feel the ache of the character I used to be enjoying, and it continued all through the journey.
In some ways, you’re voicing out the worry, frustration, and rebelliousness of girls by means of this character. Did it really feel such as you have been taking on a large duty while you have been capturing for Vakeel Saab?
Completely! I didn’t need to fail the ladies who’re going to watch the movie. Deep down in my coronary heart, I do know that I received’t give you the option to forgive myself if I fail. I didn’t give myself that selection. The story and the feelings are so actual that you just power folks to faucet into their reminiscences. You might be letting these ideas linger, and forcing folks to really feel uncomfortable. It’s a bitter factor to do and tough to put folks in that place, as a result of a lot can flash in entrance of your eyes in such moments. That’s why it felt like I used to be taking on a large duty.
Did you communicate to somebody to put together for the function or was it a very inner course of to play Pallavi?
Sadly, such roles are straightforward to play as a result of there’s a lot fact in the character. You simply look outdoors your window and you’ll come throughout different tales of how girls face sexual harassment, sexual assault, and molestation in different levels. It was very a lot an inner course of for me, however there are moments in the story the place it’s extremely exhausting to emote or put your emotions into phrases as a result of Pallavi’s associates aren’t as sturdy as she is. They break down emotionally and mentally in the courtroom, and all the things else comes crashing down for Pallavi too. And but, she has to maintain herself collectively and deal with her associates too. That was actually exhausting to emote.
Past the emotional subtext, was filming the courtroom scenes a daunting job in itself?
I’ve to give full credit score to our manufacturing designer Rajeevan and cinematographer PS Vinod for his or her fabulous work. The courtroom appeared so actual and it was my first expertise of capturing with six cameras rolling in any respect time. The takes have been for much longer, and everybody in the room had to be in character always. It made the environment really feel a lot more tense and we have been on our toes on a regular basis. It was a nice expertise capturing these scenes.
When you find yourself sharing display screen house with somebody like Pawan Kalyan or Prakash Raj, how do you handle to stand out? Is there a trick behind it?
I really feel that all of it boils down to writing. In case you perceive the aim of the scene and what your character is, you simply have to do your job proper, even in the event you seem for a break up second on display screen. Actors and stars like Pawan Kalyan, Prakash Raj carry one thing very different to the desk, and you may have to be clear about what try to be doing. This is why voicing out your opinions to the director helps. It offers everybody more readability.
Prior to Vakeel Saab, you’ve labored with the likes of Rajinikanth, Kamal Haasan, Vijay, NTR, amongst many different high stars. Does all that have put together you in a way to take up large tasks?
I’m very curious and inquisitive as a particular person. I’m keen to know what do actors who develop into superstars do, how do they operate, how do they put together earlier than performing a scene. In Vakeel Saab, I’ve labored with the likes of Ananya, Prakash Raj, and Pawan Kalyan. Their backgrounds are fully different from each other, however to me, they’re all actors. It’s an attention-grabbing paradigm to observe how they interpret their roles and slip into them.
It actually doesn’t have an effect on me as an actor and issues I study in one set might be vastly different from experiences in one other set. Throughout the shoot of Darbar, I’d ask Murugadoss a lot of questions and we’d have loads of conversations about why Vallikkanu has to behave in a sure method. In a comparable method, it was attention-grabbing to perceive numerous views of Pawan Kalyan and Prakash Raj on different subjects. I like being in that house the place my co-stars and the director perceive my strategy.