Srikanth Addala is targeting family audience with 'Brahmotsavam'. His films come with rare sensibilities. In this exclusive interview to IndiaGlitz, Addala talks about dealing with tender emotions, the burden of expectations adding to confusion, why he watches Bhakti channel, his source of strength, and more.

How do you describe 'Brahmotsavam' in one line?

It's a festival. It is about how the communion of people can be a great celebration.

Many directors/producers vie for Mahesh's dates. Was it easier or harder for you to get his dates?

Even while doing SVSC, he gave me the word that if something interesting is there, he will come on board to do a film with me. I resolved to use the opportunity come what may.

Your films always almost have tender emotions. Are you a sensitive person?

I definitely am. In these times, we have confusions, and our expectations may or may not come true. But all of us have this desire to be happy. I would like to project such elements on the screen.

Mass audience can't understand delicate emotions. How do you hope to establish a connect with them?

I don't know how to answer. (Laughs). I aim at conveying the emotions to one and all. But if something doesn't work, one can't help it. I make my best efforts to evoke feelings of family emotions in my audience.

Is it because of modernity that we are confused?

I am not saying that everyone is confused. Some things are not in our control. Due to competition or some other reason, pressure is there. We are not able to spend time with people. But if we spend time with our kith and kin and our loved ones, we would get a boost. We don't have to spend time with them every day. Whenever we can, we can do that.

You took inspiration from your life - your equations with your brother, for example - in writing 'SVSC'. What about 'Brahmotsavam'?

That was suitable for that movie's subject. 'Brahmotsavam' is a story of a rich family. The film mainly talks about innocence and purity. We think too much in today's times. What happens when someone who doesn't think too much enters a family of those who think too much? That's the point.

In the trailer, Mahesh says 'Beerakai suttam' sarcastically.

That's just a one-off thing. There was space for that; so, I inserted that line.

How different is it to set a story in a middle-class family and a rich family?

In the case of a rich family's story, the comfort level is more. It's because, unlike in a middle-class family, the struggle is relatively absent in a rich family. A middle-class family has individuals struggling to find a job and secured life, for example. In the case of a rich family's story, you don't have such elements as material needs are already fulfilled.

Mahesh Babu is a perfectionist. He goes for retakes even if he bats the eyelid one extra time.

There were cases where he was not satisfied even though I was satisfied with a take. That shows his concentration powers. Sometimes, of a few shots given, one of them would come out the best. He would ask an assistant director to take note of the shot and remind him of it in future whenever necessary.

'Vacchindi Kada Avakasam' has been hyped from the beginning. What is the song's place in the film?

It's the first song and involves all the members of the cast. It's a Sangeet song. The lavish set is because it has to reflect the richness of the family. Thota Tharani garu ensured that it's all very grand. Rathnavelu's adept cinematography also helped everything come out very well.

What is Thota Tharani's contribution?

Not just 'Vacchindi Kada Avakasam', the house set and songs like 'Bala Tripuramani' have come out very well because of him. It was a great learning experience. In Ooty, he would tweak his work for better output.

Why do you select Mickey J Meyer every time?

We work in the same wavelength. He is first when it comes to giving soulful music. Of course, there are occasions when I rejected some of his tunes. But he always betters himself.

Do you think there are not many music directors in Tollywood who can compose music for your genres?

I don't think so. If given a chance, maybe some of them can give great musical output.

Your characters are Satthwik. Are you this way in life?

That would be good if we are of Satthwik nature. (Smiles). One would want to make films of that genre if one's nature is that. If there is enough of churning within ourselves, where is the need to show a character bashing up others? If the story needs the hero to bash up a villain, we need to show violence. In my stories, are good people and very good people.

So, violence in your films won't go beyond a character hitting a flower pot. Am I right?

What? (Smiles) Hitting the flower pot is an effect. The conflict that precedes that scene is what matters. (Addala is referring to 'SVSC'). The conflict may find expression in a character throwing out a coffee cup in frustration. Or it can take expression in some other way. In 'SVSC', the brothers are something else inside, but they put up a facade. That's conflict, isn't it? Frustration has to come out in some way or the other.

What's your reaction when you watch, say, a Boyapati film?

It's a great art to make a film in his way, in that setting. Take 'Baahubali'. Look at the detailing. That's a great thing. Execution is even greater. Everyone has his own vision, be it Boyapati garu, Rajamouli garu, Puri garu, or anyone else.

Rao Ramesh has special place in your films. Why do you specially like him?

I basically like Rao Gopal Rao garu a lot. His villainism is missing today. Ditto with Ramana Reddy garu. They wouldn't do larger-