Watch | Directors’ Take | Vivek Athreya: Mani Ratnam remains relevant because of the writing and being open to collaborations

Watch: Director Vivek Athreya opens up on his writing techniques and how films of K Vishwanath, Mani Ratnam, Krishna Vamsi and Mysskin influenced him

Browse through online discussion boards on the newer crop of directors in Telugu cinema and you are likely to come across avid movie buffs analysing the work of director Vivek Athreya. After debuting with the rom-com Mental Madhilo, he gently pushed the boundaries with the black comedy Brochevarevarura. His social commentary in this film as well as his next, Ante Sundaraniki, earned him a loyal following that appreciates his writing, gender sensitivity, comedy and ear for music. Here, he talks about filmmakers whose work defined his understanding of cinema in his early years and why he thinks a writer needs to be a good listener.

Edited excerpts from the interview:

You grew up in Guntur where your parents, both movie buffs, worked in India Post. What were the films you were exposed to?

My initial introduction to cinema was through the audio cassettes my mother would play. Then when I watched films of director K.Vishwanath, it defined my idea of cinema. Films of Mani Ratnam and Krishna Vamsi also had a huge impact on me. I was impressed by how Krishna Vamsi made films in different genres — Gulabi, Antahpuram, Ninne Pelladatha and Khadgam. Similarly, I was awed by how Mani Ratnam made Thalapathi and followed it up with Roja, Thiruda Thiruda and Bombay, each different from the earlier ones. I was happy just watching these films but never thought I would become a filmmaker.

You studied B.Tech in Thanjavur and worked at IBM, Chennai, for five years. Did that change your exposure to the cinema? Was it during that period that your interest in storytelling grew?

The exposure to a new culture helped widen my vision. I remember watching Mysskin’s Yuddham Sei in Chennai. I did not understand Tamil but was drawn to the film’s visual language. Around that time, some of my friends learnt music or played cricket during weekends. Cinema was my escape route. My father had passed away and I was going through a bad phase. I began working on short films and started learning about editing and screenwriting.

Initially, I was apprehensive. Unlike my friends, I knew nothing about international cinema. My friend, cinematographer Vedaraman Sankaran with whom I later worked in Mental Madhilo, pointed out that I seem to have an interest in drama since I like films of Mani Ratnam and Iranian filmmaker Asghar Farhadi. Veda encouraged me to follow my instincts.