Then the cat—your screenplay—looks at your blueprint, yawns, and knocks the coffee mug off the table.
“A screenplay is a cat.”
Pour a bowl of milk. Sit quietly. And wait. thiraikathai enum poonai
But if you have ever tried to tame a cat—or write a film—you will understand the metaphor perfectly. And wait
The great Tamil screenwriters—from K. Balachander to Mani Ratnam, from Crazy Mohan to Vetrimaaran—understood this. They did not build plots like brick walls. They built courtyards where the story could wander, nap in the sunlight, and occasionally scratch the furniture. Balachander to Mani Ratnam, from Crazy Mohan to
When you watch Nayakan , you are not watching a plot. You are watching a cat that grew into a panther. When you watch Soodhu Kavvum , you are watching a stray that refuses to be neutered. When you watch Super Deluxe , you are watching seven cats in one house, all ignoring each other until the climax. I have written screenplays that were obedient. They had perfect structure. They followed every rule in Syd Field’s book. They were dead on arrival.