Dileesh Pothan on rumoured Mammootty film: ‘I have exchanged a few ideas with Mammukka… but we have not developed a firm plan yet’

“I have exchanged a few ideas with Mammukka. Therefore, it can be said that discussions are currently underway. However, we have not yet developed a firm plan or written a concrete script. It’s not just Mammootty; I also wish to collaborate on a film with Mohanlal. Nevertheless, thus far, we have not finalised any specific project involving either of them,” he said.

Pothan, however, reveals to The Indian Express that his upcoming directorial venture is likely to be ready by next year. He shares, “Syam Pushkaran and I are currently in the early phase of the writing process.”

Weighing in on the discussion surrounding early OTT releases, Dileesh Pothan acknowledges the merits of the arguments put forth by both film personalities and theatre owners. He states, “Since people are aware that a film would have an OTT premiere three to four weeks after its theatrical release, many viewers refrain from going to cinema halls if they are unable to watch the movie within the first two weeks. Consequently, the idea that films will soon be available on streaming platforms may be contributing to the decline in theatre attendance, which is concerning for the industry. However, it is important to note that OTT platforms do assist in bagging a wider audience for our films. Additionally, only a select few movies are screened in theatres for more than 30 days each year. Therefore, if a producer realises that their film is unlikely to perform well in cinemas and decides to sell it to OTT platforms early for some financial relief, we should not blame them for their choice. When we calculate the losses faced by producers annually, they are significantly higher than those incurred by theatre owners.”

He also mentioned that it is ideal if all organisations held discussions and reached an amicable agreement.

In spite of being recognised as a key figure in the innovative movement within the Malayalam film industry, Dileesh Pothan has faced considerable online criticism, as some viewers have labelled his movies as “Prakruthi Padam,” a derogatory term referring to films with realistic treatment. Nonetheless, the actor-director remains open to all forms of critique. He affirms, “Such words don’t hurt me. I have directed three films so far, and needless to say, all three have been well-received by our audiences. So, why be hostile towards criticisms? I welcome such diverse opinions that help me be a careful filmmaker, ensuring my films don’t become monotonous.”

Pothan emphasises that if a group of people finds his works boring or dislikes their style, he is committed to addressing those concerns and making the next project even more appealing to a larger audience.

Despite being an early adopter of OTT platforms, especially in response to the Covid pandemic, it is astonishing for cinephiles that the Malayalam industry has rarely explored the realm of web series. It was only recently that the industry’s first notable endeavour, Kerala Crime Files, premiered. When asked why the industry, despite having talented filmmakers like himself, has not made more attempts in that aspect, Pothan remarks, “I believe streaming platforms should provide insights on that. They only recently started focusing on our industry. However, it is worth mentioning that several series are currently being filmed here. Personally, I haven’t come up with a concept worthy of being conceived as a series. I do aspire to give it a try one day, but not in the near future.”

In spite of the Malayalam film industry’s commendable achievements in 2023, producing an ample number of quality films, the unfortunate reality is that the box-office successes have remained low, with a few exceptions such as Romancham and 2018: Everyone Is A Hero. Pothan, on the other hand, asserts that the film industry has consistently endured such challenges over time and has encountered numerous box-office failures on an annual basis.

“When examining the box-office data from previous years, it becomes evident that only a limited number of Malayalam films, typically ranging from four to seven, achieve the coveted status of superhits each year. This trend has been consistent throughout the 90s, 2000s, and beyond, with no more than seven films achieving blockbuster success annually. Around 30 films, at most, attain the status of average grossers, leaving the remaining films categorised as box-office failures. However, this repetitive pattern does not signify a lack of optimism. Irrespective of the genre, if a compelling film emerges that resonates with and entertains the audiences, people will flock to the theatres, propelling it to blockbuster status,” Pothan adds.