I’ve now started looking at what a script has for me as an actor: Udhayanidhi Stalin

In an interview with us, Udhayanidhi Stalin, who has completed work on Magizh Thirumeni’s Kalaga Thalaivan, talks about his pivot towards serious films, being in cinema and politics at the same time, why he stepped in to sort out the Indian 2 issue, and more. Excerpts:
What made you want to do Kalaga Thalaivan?
Actually, Magizh Thirumeni had narrated Thadam to me first, and I had even sent him to a production house for the film.But they chose to work on another script. So, for about a year and a half, he waited for me. Later, Arun Vijay came on board, and the film became a huge success. I loved the movie. In fact, I like his Meaghamann and Thadaiyara Thakka, too. So, after the release of Thadam, I asked him if he had any scripts for me and he frankly told me that he didn’t have one at that time. But he requested four-five months’ time and came up with this idea, which I liked. I liked the characterisation of the hero. It’s a character I haven’t played so far, and I found that challenging. I haven’t had two looks in any of the films I’ve done so far. This is a script that spans eight years, and I needed to have two looks — eight years before and after. We wanted to make me look young by eight years without CG, and did a lot of look tests, and experimented with hairstyles and costumes. Because of COVID and the elections, this film took three years to make, and that gave us the time to prepare better. For one of the characters, I had to grow my hair a bit long, and that, too, took some time. I think he has managed to make a film that is as interesting as it was to me when he narrated the script. It’s a proper action thriller... no-nonsense, with no songs or comedy that the script didn’t require.
You began your career with comedy films, but in the past few years, you’ve been working only on serious films. Is this a conscious decision?
Yes, it is a conscious decision! It’s not like I don’t like comedy scripts anymore, but I feel that I have done too many films in that genre. Since Manithan, even at the time of narration, I’ve started looking at what a script has for me as an actor, and how I can challenge myself and do something new. Even with the Article 15 remake, Boney Kapoor actually wanted me to do Badhaai Ho. But I told him we could work together if he had a serious script. That’s how Nenjukku Needhi took off. My next film, Kannai Nambathey, is a serious thriller with a story that happens over two days, with a ‘what next’ factor to it. Perhaps because my first three-four films were comedies, I now get tired even when listening to a script in that genre. I’m looking for more intense scripts that offer me a challenge in terms of performance.
Is this also due to you getting serious about your political career? Perhaps you felt people might not take you seriously if they saw you as a hero in comedy films...
But Manithan was six-seven years back, right? I always make films targeting the family audience and kids. Since my first few films had good comedy and songs, kids actually see my films. That’s why you won’t find a lot of violence or glamour or double entendres in my films. I avoid such scripts that come my way. Even with stunts, I tell the stunt choreographers that people might not believe it if I take on 10 guys at the same time and ask them to keep it real. In fact, there haven’t been any comedy scripts coming my way for some time. Maamannan is also a very intense movie. Even though it has Vadivelu sir, he is more of a character artiste than a comedian in the film.
Having worked with serious filmmakers, do you think you have evolved as an actor?
I don’t know! I totally believe in my directors and do what they ask me to do. Even with Magizh, he did not let me off until he got what he wanted. Slow-va edupaaru. Rasichu rasichu edupaaru. Compliment kuduthute irupaaru. I believe I shouldn’t think that I’ve evolved. I feel I should keep learning things and improving myself. In fact, if you make this film again, I’d deliver a better performance.
What do you look for in a film when you want to produce or distribute it?
It’s a mix of everything. I watch some films beforehand and suggest my opinions to the director and the producer. Some listen, some don’t, and try to make changes after the film has been released! The thing is, it is hard for the person making a film to find faults in it. Only when an outsider watches it will they know the truth. With some films, I go with gut feeling. Like big-budget films. I just take them up on instinct, hoping they’d be good. I actually get to see most of those films just a couple of days before their release. I’d be frank with my opinion about the film even then. After COVID, people were worried if theatres would continue to exist, so theatrical films doing well is a good thing. At the same time, OTT platforms have turned into a cushion for producers, and many are making content exclusively for OTT, so it’s an encouraging sign for cinema on the whole.
How effective are promotions in ensuring a film’s success?
We promote all our films equally. All that buildup that we give about a trailer’s reach or a song’s views... Promotion matters only on the first day. From the second day, it’s the movie that talks. Whatever promotion you do, you can’t make a film successful if the audience doesn’t like it. Similarly, if a film is good and the audience likes it, they will celebrate it and ensure its success. Our audience is very smart. They know about the hero and the director’s previous films and decide if a film deserves an opening or not.
There’s buzz that it is you who got Indian 2 back on track after the production had stalled...
That’s not really so. The concerned parties had a misunderstanding and we went and spoke to Kamal sir, the production house and Shankar sir, and sorted it out. It’s a huge project and they had already shot 50 per cent of it. People had put a lot of work in it. So, why not resuscitate a good project? And especially after the success of Vikram, Kamal sir felt it would take off if we came on board and everybody came together. But I can’t be mediating for all projects that are in trouble. People come to me only if there are fewer issues and I try to help as best as I can.
Right from before the elections, there has been criticism over you being an actor and a politician. Is that what prompted you to announce that Maamannan would be your last film? Is it possible to ride both horses at the same time?
It is possible, but the expectations from the public, especially from the people of my constituency, are more. So, I have to spend more time on my political career and take care of my constituency. I got a lot of time during the past two-three years because of COVID as film productions had slowed down at that time. But now, if I take up a project, I’m required to spend four or five months towards it, which is a long time. This is why I thought I’d reduce my film commitments, and planned to have Maamannan as my last film. Then, Kamal sir narrated a storyline, and I told him I’d produce it. But he insisted that I act in it, so I had to say yes. It will take off by January 2023, and will be wrapped up in two-three months. So, after that, unless I find a script incredibly interesting and like it a lot, I might not do a film after that.