It's party time for the team behind Vishwanath And Sons. In this conversation, director Venky Atluri discusses adapting the script of VAS for Suriya, the importance of keeping the characters authentic, and the collaborative process behind the film’s production design, editing and casting. He also talks about working with Sithara Entertainments and the influence of Mani Ratnam and Trivikram on his filmmaking journey.
The overwhelming response to the film is truly gratifying. Wholesome family entertainers have become rare in recent years, so audiences are eager to return to theatres when a good one comes along. I conceived this story back in 2022 around the core idea of why a person might remain unmarried at 40, exploring how circumstances shape human behavior. While I did not write it for Suriya sir initially, we adapted the script to suit his screen presence once he joined the project.
Suriya sir connected with the story instantly when I narrated it to him, he was actively looking for a family entertainer at that time. We were committed to telling the story honestly, without forcing in commercial or comedic elements just for the sake of it, and we paid special attention to the climax to make sure every character stayed true to who they were.
VAS is a family entertainer, it's not a thriller. It was meant to make the audience laugh, smile, cry, and enjoy. It was intended to make you relax. The dialogues have been appreciated because it's sincere. It shouldn't be compared with Lucky Baskhar. By God's grace, 90% of those who watched the film are liking it. Even a classic will be disliked by a small segment of the audience.
For the casting, Mamitha Baiju felt right after her work in Premalu. Her command over Tamil helped her execute the comedy effortlessly.
Production designer Banglan, cinematographer Nimesh, and I spent considerable time planning the visual style. We wanted the main house set to look unique and grand, not just large. Had VAS been shot in a bungalow in a foreign country like Bangkok or some other place, the budget would have been less. The producer said okay for a house set even if it cost Rs 5 Cr more. The interiors of the house are entirely a set.
The editing process was equally critical in shaping the final version. A film always improves when the editor has the freedom to trim unnecessary footage.
Working with Sithara Entertainments has been a great experience as well. Our partnership relies on mutual trust rather than financial terms, which makes me want to collaborate with them long term.
I believe the film will sustain momentum and generate substantial box office numbers in Tamil too over time. Everyone is secure and happy. And that's the first step. I watched the FDFS in Tamil at a bellwether-like theatre where big-star movies are celebrated with a DJ set-up. The response there was tremendous. They loved the film. Initial response there was that VAS is poetic.
The film's budget is around Rs 130-40 Cr. While I don't know the exact numbers, I heard the OTT rights fetched Rs 81 Cr. I try to distance myself from financial aspects. I am not consciously keeping a track of theatrical revenues. I stay away from knowing about those numbers because I don't want financial success to get to my head. Just because my producer is making more money, it doesn't entitle me to make him spend more on my next project. Naga Vamsi garu never questions my spending decisions.
Mani Ratnam sir and Trivikram sir are the two biggest inspirations behind my decision to enter this industry, so being compared to Trivikram sir means the world to me. I love his film Nuvvu Naaku Nachav for how it blends humour with genuine depth; dialogues that entertain while quietly holding profound truths about life. That balance is exactly what I aspire to bring to my own writing. Trivikram sir watches most films made under the Sithara Entertainments banner, and while he usually offers small suggestions, he had none for this one. He simply said it was very good; and coming from him, that meant everything.
