Can you tell us about your experience casting real police officers in ‘Thondimuthal’? Some of them have gone on to become well-known actors…

The film had many scenes inside a police station with 10–20 characters. We decided that instead of actors trying to portray police officers, it would be easier to cast real cops. They just had to be themselves, so it required less preparation. We held auditions among real police personnel. That approach not only made our job easier but also added authenticity to the film. These officers shared insights about actual police procedures, which helped correct mistakes and refine scenes.

Was ‘Joji’ conceived as a tribute to K G George’s ‘Irakal’?

No, that wasn’t our intention. We started with the idea of adapting Macbeth. During the pandemic, when everyone was feeling down, we wanted to create something in a controlled environment. We decided to adapt a play that would require minimal locations. I had previously worked on a portion of Macbeth during my time at Kalady, so we used that as a starting point and tried to set it in a contemporary context. However, as we progressed, we deviated from the original and focused on the story that organically emerged. The comparisons with Irakal surfaced only after the film’s release, but I don’t see many similarities beyond the setting. K G George sir’s works have deeply inspired us, so perhaps there was some subconscious influence.

The set for ‘Rifle Club’, both on-screen and off-screen, seemed quite unique…

We had great confidence in the project. The narrative was very interesting. The characters were very beautiful. I felt though the movie had many characters, each one had an important role to play. The making of the movie too was interesting, in that it brought back memories of my theatre days.

The film had Anurag Kashyap. How was your interaction with him?

I spoke to him briefly as I’m not too well-versed in any language other than Malayalam (smiles).

Does a Dileesh film aim to deliver a message to society?

My goal is simply to reflect society as I’ve experienced it. I don’t try to convey a political message. I don’t believe a film should deliver a message, we should feel it instead. If the aim is to give a message, then you might as well just give a speech. It’s up to the viewer to decide what message to take away.

There’s also an argument that cinema influences society…

I don’t believe anyone becomes good or bad just by watching a movie. If that were the case, many people would have become better because a lot of good films have been made. There might be a minor influence. And one film won’t do it. Watching 10 or 50 films of the same pattern might influence someone. A cultural change like that can happen slowly.

Doesn’t a filmmaker have a responsibility in that regard?

Filmmakers have the same responsibility as everyone else. I don’t believe this field is meant to fix society. I prefer to view filmmaking more as a professional endeavour. My goal within that is to present society interestingly.

Can you take us through your collaboration with Syam Pushkaran?

Every decision is shaped through discussions. We don’t maintain rigid boundaries between us. Syam, though primarily a writer, has often taken on the role of a director. Similarly, I too have stepped into the role of a writer. We contribute collectively, especially when it comes to developing the plot.