Tamil Tv Serial Actress Shilpa Facebook

Express News Service The year was 1998. A 20-year-old Vijay Sethupathi was seated in the second tier of a popular auditorium an anonymous young man among a sea of junior artistes. It was a shooting, and the film in question was Gokulathil Seethai starring Karthik and Suvaluxmi. The young Vijay Sethupathi was there for the high of being part of a film, and of course, for his wage of `100 and the “free curd rice and lemon rice”. Irked that he was seated too far away, he climbed downstairs to increase his chances of being spotted in the film, only for another actor to unceremoniously send him back. “I felt humiliated,” he says. Twenty years later, in the sort of dramatic turnaround that only life can script, he found himself in the same auditorium, but this time, he was on stage dressed as King Aurangazeb, shooting the first scene for Seethakathi, his film with Balaji Tharaneetharan.

IN PICS “I think life sent me back to the second tier that day because it didn’t want me among the audience. It wanted me on stage, and as a king, no less.” He feels not pride, but a detached sense of surprise at life’s turns. Octane render 1022 x64 cracked glxl. While shooting for Thiagarajan Kumararaja’s Super Deluxe, the team used a framed photo of a younger Vijay Sethupathi that was taken many summers ago for a bus pass. A still from Vijay Sethupathi- starrer 'Seethakaathi' (Photo YouTube Screengrab) “The photo seemed to come to life when I looked at it.

It’s like it was telling me, ‘Did you think this photo was taken for a bus pass, idiot? This was taken for the shooting of Super Deluxe.’ I remark that his life seems quite rewardingly ‘designed’, but he will have none of it. “I think everybody’s life is like that. The individual moments of life may seem ordinary, but if you pay close attention, you’ll notice they are anything but.” In any case, the last few years of his acting career have been quite rewarding, and he recognises the growth he’s undergone since he did Naduvula Konjam Pakkatha Kaanum (NKPK) with Balaji Tharaneetharan in 2012. However, very little has changed between them, he says. “We are still the same people, at least when it comes down to our very core.

A few minutes of interaction is enough to tell you whether a person has changed decisively. If you don’t have that perceptive ability, you can’t survive in the business of telling stories.” He respects directors like Balaji, Prem Kumar (96), and Thiagarajan Kumararaja for never shirking from pointing out when something’s not working. “Sometimes, it’s hard for a director to communicate why a scene isn’t working out. As an actor, I try hard to be perceptive, to pay attention to the unsaid words, and change my performance.” Among other things, their first collaboration, NKPK, was notable for its unique story.

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“Balaji’s innocent and brilliant. He’s not one to thump his chest about coming up with such wildly original ideas. He is wise enough to know that just because a story comes through him doesn’t mean it belongs to him,” he says. Is he talking about Balaji’s lack of ego as a creator?

“A creator doesn’t need to show his ego, not when it concerns matters of creativity and the audience. The ego should come into play when in the presence of someone who disrespects art and creativity.