Maniratnam), Naan Kadavul and Sindhu Samaveli that Jeyamohan was taking cinema to a whole new level,” a writer told me. Many of Jeyamohan’s fellow writers consider him a force to reckon with. Film critics familiar with his work told me he had made several movies, which introduced a new sensibility to audiences. In his public interviews and talks, Jeyamohan displays an amazing grip of facts. ![]() But many writers hold Jeyamohan guilty of making personal attacks on them and being “immature” in his interactions with them. Even after entering the film industry, he wrote at a terrific rate. ![]() I knew that Jeyamohan wrote very fast and published nearly everything he wrote. Some of the talk, understandably, was alien to me. The two writers shared a mentor-understudy relationship. I used to accompany my grandfather and Jeyamohan on their evening walks many times. For the observer who didn’t know him well, Jeyamohan could seem cocky and too sure of himself. He borrowed my spectacles once because he had broken his own. He wore thick glasses and dressed informally. He used to visit Sundara Ramaswamy, my grandfather, almost everyday. When I first met Jeyamohan in 1997, he was a rising star in Tamil literature and an opinionated intellectual. So it should be filled with events leading up to the conclusion,” he said, adding that this was a “testing task”. Nowadays, I can call myself well-travelled,” he said.Īs a short story writer, Jeyamohan said, he could convey the thoughts of his characters. Writing for the movies provided me the means to do what I liked. “I was spending 10 hours a day in my job with the telephone department and the income was meager. The writer, who began his film career with Kasthuri Maan in 2005, said he had turned to cinema to supplement his income. I have set certain standards for myself,” he asserted. I am trying to do movies without compromising too much. But in the post-globalisation scenario, the lines between popular and serious literature have been blurred. “There would have been writers like the late Sundara Ramaswamy from the previous generation, who would have thought of this as betrayal, had they been alive. I asked him if his fellow writers considered his entry into films as a sort of betrayal to serious literature in Tamil. When directors like Vasanthabalan and Bala begin their projects, they seek me out and that’s a good thing for me,” he declared. “Today, I am among the most sought-after screenplay writers in Tamil. But that’s just the first draft,” he said. But I often come up with the screenplay, which usually runs from 90-100 pages, in a month or less. “It is very difficult to get into the mood to churn out a script. Jeyamohan said even commercial directors often tell him that they want to collaborate on a serious film with him. Oscar winners AR Rahman and Resul Pookutty have also signed up. The movie will be shot by Nirav Shah and edited by Anthony, both of them first rate technicians in Tamil cinema. Jayamohan begged off further questions on 2.0 saying that the “rules” did not permit him to answer them. “You can expect everything that is usually in a Rajinikanth movie and more,” he had said. But in the end, it’s a Shankar film,” he said.ĭuring an earlier interview a few months ago, Jayamohan had told me that 2.0 will satisfy the superstar’s core base in Tamil Nadu and elsewhere. ![]() ![]() “I came up with large swathes of the screenplay for 2.0. He sounded as if he took pride about his work in Tamil cinema. Jeyamohan has previously written dialogues for the national award-winning Naan Kadavul ( I Am God Dir. But the movie itself was Shankar’s child,” he said. “Sujatha’s genius came across in flashes. He said even popular writers like Sujatha had to bend to Shankar’s will while writing for Indian (1996). There is something called designing a movie and he does it the best,” said Jeyamohan. “Shankar comes up with the basic one-liner that serves as the template for the story.
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