Mohankrishna Indraganti has delivered a big hit after a flop like Bandipotu. In this exclusive interview to IndiaGlitz, the unconventional director talks about what he felt when he heard David Nathan's story, how the selection of the lead cast happened, the impact of cultural alienation on Telugu cinema, and more.

Gentleman's screenplay has been critically acclaimed. What care did you take to write it?

I have adapted into screenplay David Nathan's story. I nativised it in my own style. The last 10 minutes are very crucial for this. It really challenged me. When we edited it, I told Marthand K Venkatesh garu that the climax should be comprehensible even if watched without sound. The audience shouldn't get confused, they shouldn't feel bored. I have watched the movie in a multiplex and a single screen theatre just to know whether someone would walk out of the theatre. None did.

Some sections have found the climax dull. What is your reaction?

If they felt it's dull, the response wouldn't have been so good. Some are saying the first half has no story. Everything in the film is there for a reason. There are several connections between the first and second halves.

If Sivalenka Prasad had not brought to you David Nathan's story, what would you have done after Bandipotu's flop?

I would have been doing independent cinema perhaps. I had certain plans. My producer Sivalenka Prasad garu called me up before Bandipotu. After the failure of this film, he told me success and failure are part of life.

What was your first reaction after listening to David Nathan's story?

My first reaction was excitement. I knew it was a genuine thriller. I only look whether there is a movie in the story. I knew from the beginning that this is definitely an exciting film with its share of emotional highs and lows.

How did the selection of Nani, Niveda and Surabhi happen?

When I first narrated the story to Nani, he liked it but since he was busy with Yevade Subrahmanyam, he asked me either wait till December or do it with someone else. I narrated it to Sharwanand, who liked it, but couldn't do it because he was busy with Express Raja. I waited till Nani was done with his commitments. As for Niveda, the names of Keerthy Suresh and Nithya Menen crossed our minds, but didn't work out. I heard about Niveda. When I watched an interview of her on YouTube, I was convinced that she would be apt. Surabhi's name was suggested by Nani.

How did you make sure the performances were picture perfect?

My actors come very well prepared to sets. I don't do any kind of changes on sets. We improvise only a little. I don't dictate them. They constantly talk and collaborate with me.

Niveda has said that Nani improvises a lot. How does he do that?

He comes up with 5-6 types of portraying an act. He knows things like where he should pause, how much space to give to his co-star, etc. It is his greatest strength. It's all instinctive in him.

Do you think the trailer played an important role in the film's success?

Enormously. The trailer set the tone. It set the expectations with respect to what the film is about. It told the audience that Gentleman is a romantic thriller. The film is not just a breezy love story, but also a racy thriller.

You have said that lack of cultural education among directors is ailing the film industry. Could you elaborate?

By cultural education, I don't definitely mean degrees. But yes, a filmmaker should have education. If not a comprehensive understanding, he should have an in-depth understanding of literature, painting, and other arts like theatre. He should have a reasonably deep knowledge and understanding of the times we live in. It's only then that the story will have an informed quality.

How have you translated your cultural understanding on the big screen?

I have always one it. If you see in Gentleman, the entire character of Niveda runs along the lines of a visual effects artist. She knows how to get into people's system, etc. Surabhi gets the best entrepreneur award in the end. Nani's character Jayaram is an adventure sportsman. I create these worlds. I don't like regressive ideas. My heroes are very progressive and broad-minded. They don't treat the heroines like glam dolls. My heroines are never dumb.

Do you think globalization has alienated filmmakers/audiences from local cultures?

With globalization, consumerism came. We are now obsessed with objects like cell phone, Facebook, buying things, etc. There is certainly a cultural disconnect. There more interaction through technology. People are feeling a certain vacuum. Art brings people together. Cinema, art, painting, etc connect them back.

Do you think it's because of this disconnect that the audience's tastes are depraved?

Audiences are liking good cinema. But today there are too many attention-weakening causes like cell phone. Meaningful cinema like the Marathi film Sairat are appreciated. My film Gentleman is not a love story, not a family drama, but it has become a big hit. We need to respect the audience's intelligence.

As a director, what is you aim?

I want to take Telugu cinema to international standards. Not from commercial angle, but creativity-wise. I want my films to get appreciated for their content in international film festivals.

What are your plans in near future?

In five years' time, I want to adapt a novel written by Kutumba Rao. Bucchi Babu's Chivaraku Migiledi is something I want to adapt. Although they can't be adapted as it is, some of the progressive ideas discussed there are very relevant. I also want to do a Shakespearean comedy. I want to add social satire.