CHENNAI: For editor Vijay Velukutty, a film is written three times on the writing table, during the shoot and finally on the edit table.
After working on films such as Valimai, Thunivu, Mark Antony and Good Bad Ugly, he is now part of Karthi’s Sardar 2, directed by PS Mithran. He says the sequel offered a different challenge, particularly because Karthi’s two characters travel together for a major portion of the film.
“Both characters are from the first part, but Sardar 2 goes back to their first mission. While Sardar was more plot-driven and infotainment-driven, the sequel gives equal importance to character and infotainment. It explores how a rookie trainee handles his first mission and the trauma he carries throughout his life,” says Vijay.
Unlike the first film, where Karthi’s two characters did not share much screen space, they travel together for nearly 50 to 60 per cent of the sequel. “Technically, it was a little challenging. Their behaviour also has certain differences, but Karthi has handled it very well, so there wasn’t much difficulty for me as an editor,” he adds.
The sequel is also much bigger in scale. “The first film was around 70 per cent plot-driven and 30 per cent character-driven. Here, it is almost 50-50. The action sequences, locations and set pieces are bigger. It is also a mystery film. The first 25 to 30 minutes contain a mystery that we haven’t revealed in the trailer. All these elements demanded a different editing language.”
Vijay describes the editing process as highly collaborative, especially with writer Nambi involved throughout.
“There were constant changes after every edit, but I didn’t change the basic structure. We made some changes to dialogues and other portions. Nambi sir sat with me throughout the editing process and guided me on how to control the characters. It was a new experience, and I wish all film teams did this without ego. It can help the film tremendously,” recalls the editor.
One major action sequence, mounted on a massive set with an Indiana Jones-like adventure feel, also underwent changes during editing.
“I had a few doubts while editing it, so I immediately asked the director to sit with me. I made some suggestions with his approval. Once those changes were made, a few other things became unclear, and those were corrected as well. The action sequences are situation-based, so it was a collaborative process.”
Maintaining mystery without confusing the audience was another priority. “Every scene was edited with clarity in mind. A mystery should be revealed part by part, on a need-to-know basis. We even created a focus group and screened the film to get their responses. It helped us a lot.”
Composer Sam CS was also part of the process. “After every cut, we would show him the film and take his feedback. He also gave us reference tracks, and we edited some sequences according to the mood.”
Vijay began his career with independent filmmaker Kalyaan through Naalaya Iyakkunar, before Valimai gave him his major break. His association with Ajith continued through Thunivu and Good Bad Ugly, with Daredevil as his upcoming project.
“After working with Ajith sir, my life changed both financially and professionally. He has become like family. He doesn’t discuss my work much, but when he smiles at you, you know he is happy.”
He is also editing SJ Suryah’s directorial comeback, Killer, which is around 80 per cent complete. “His whole body has a rhythm. Even the way he uses his hands and legs adds to his performance. He can give references for music, story and camera angles.
I love editing his scenes because he gives me so much to work with. Every detail is interesting,” the editor tells DT Next.
For Vijay, the audience’s perspective is important when making decisions in the edit. “Whatever the film demands, I look at it from the audience’s perspective. The theatre is the place I love the most, and sitting there with an audience is one of the best moments of my life.”
Describing his role as an editor, he says, “An editor is almost like a director at the edit table. We don’t stand under the sun during the shoot, but the mental stress can be greater.” For Sardar 2, he adds, “It is the journey and emotions of a spy, along with a lot of entertainment value. I believe audiences will enjoy it.”