In this exclusive interview to IndiaGlitz, Nandini Reddy, one of the few female directors of Telugu film industry, talks about her style of filmmaking, why she has chosen Naga Shourya and Malavika, why she thinks Kalyana Vaibhogame is her best film till date, what went wrong with Jabardasth, her style of situational humour, and more.

What is the film's premise and subject?

The film is set in today's times. It explores the changing mindset of today's youngsters and mentions their fears, bewilderment, and aspirations. The older generation's perspective is juxtaposed with that of today's. The parents' point of view is there, adding a texture to it. It's a very slice-of-life film with touching emotions. There are lots of relatable characters, characters which are like your family members, and friends. Even the situations are very realistic.

What kind of humour do you like to portray in your films?

Situational humour. I think you should take it for granted. You shouldn't even ask me that question (laughs). There are no separate comedy tracks as in Hrishikesh Mukherjee, Bapu, and Jandhyala's films.

But we see a bunch of characters in the trailer.

There is a gang yes, but the thing is I never mark anyone as a comedian in my film, unlike in typical commercial movies where a guy has to do comedy and disappear. A character will be sad, upset, angry, etc and the audience has to find humour in him. I don't bring in actors to do comedy specifically. For example, Raj Madiraju garu is playing the hero's father; he is a very cute man. There are humorous as well as emotional situations involving him.

I see it this way: in one human being, nobody is just a joker. You are funny at times. When your friend is in trouble, you give him good advice, at which time you are serious. You are romantic with your girlfriend/wife. There are all these shades in human beings. Those variations will happen as per the requirements of the story.

How have you treated the subject differently from others who have dealt with similar kind of subjects?

By default, my way of narration is very different. It's not like Ala Modalaindi was a novel story. It was routine: Boy likes girl, by the time the boy confesses his love, the girl is with someone. By the time the girl reciprocates, the boy is with someone else. Then a lot of confusions happen.

If I told you this is the story, you would probably say, Oh! Okay. Probably some 75000 stories'. What matters is the way you narrate, the way the characters talk, react. I have my own way of narrating these stories, wherein comes the difference. The fact that I try to keep it real itself will separate it from a lot of other such stories.

Is Kalyana Vaibhogame a more serious kind of film than Ala Modalaindi?

It appears to be the case only apparently. In reality, it is 70 per cent humour. Only that KV has more number of characters as family members are involved here. I have gone a little bit more into those emotions. But the fun quotient is almost equal.

By nature, I am a very non-serious person. Even when I am talking, I joke half the time. I would get bored if I were serious. It's very whacky, mad, crazy. There is a beautiful emotional quotient. It follows the mood of the story. I don't calculate that it has to be funny. It just has to follow the graph of a story. My audience has to fall in love with my characters by the end.

Is Kalyana Vaibhogame preachy?

I hate being preached. I hate preaching. Nobody wants to pay Rs. 150 for being preached. There are enough number of people in our lives, right from school and college, to our parents. If you are ready to listen, many will be ready to give a lecture. Please, I don't want filmmakers to give lectures. I don't know much about life than you know. I probably have made bigger mistakes than you have. So, I don't own a right to lecture you. I reserve my right only entertain.

So, is the message implicit?

Yes, if you want to take away something. I have included things I believe in, things that I like, things that touch me, things that make me laugh. Out of that, if you have a takeaway, then it's a bonus.

As a woman, have you brought in your perspective?

By default, it will happen. Even if I am picking a shirt, my perspective will be there. From what I read to what I eat and what book I choose to read, my perspective plays a role. I don't consciously think that I'm a woman and I should do this. That doesn't happen. Just as a man you do certain things automatically, I do some things automatically. I am what I am.

Since the story is coming-of-age and it's about how the lead characters have a change in perception, it seems that Malavika Nair's character is somewhat feminist.

My characters are as feminist as I am, or as non-feminist as I am. There is no agenda in the film. I am not trying to create characters that will change the course of the way women are portrayed in films. You won't find Malavika Nair standing out distinct from other girls. My characters are all of today's generation. They are real, relatable.

Have you tried to trace out the reasons for the changing mindset in today's youth.

We have tried to discuss what their fears, what their apprehensions are. Why is there confusion, what are their expectations from marriage. That's all part of the story's construct. We have put all that subliminally into the story.

How has the casting come out.

I should give a pat on my back for getting the casting perfect. Whether or not you like the film, you will have no complaints about the casting. You will say that nobody else could have done the roles done by Naga Shourya and Malavika better. Naga just lights up the room. He is so lively. So also Malavika. They perfectly fit the bill.

Tell us about Kalyan Koduri's music.

He is an n old friend of mine. We work very well together. Our taste in music is similar. We are ruthless and brutally honest with each other. There are no egos when it comes to working. I always visualized that he should push the bar for the film and go beyond what he had done previously. The a