28 August 2023
Hyderabad
Note: This interview is done before the release of Bedurulanka 2012 film
As he awaits the release of Bedurulanka 2012, fronted by Karthikeya and Neha Shetty, producer Ravindra Benerjee Muppaneni aka Benny concedes that the buzz surrounding the film is “pretty decent”. “It is not as expected because there are other films lined up for the weekend. But we are very confident and we want people to watch the film as early as possible so that it can help us with word-of- mouth. Which is why we planned paid premiers ahead of the release itself,” he tells us in an exclusive conversation. In between speaking to buyers and overseeing the arrangements of the pre-release event, Benny spoke about Bedurulanka 2012, what he looks in a script, his inspirations, his goals and much more…
Can you share with us a little bit of your background?
I used to work as an IT professional. I worked for around six-seven years in Hyderabad and Chennai. My passion towards films made me take a plunge into the industry. I was interested in trade too.
You’ve jointly produced two films – Colour Photo and Thellavarithe Guruvaram. While one won a national award, the other didn’t do well. How do you reflect on them?
It was a mixed experience but I take pride in both of them. The decisions came from the heart. It’s just that one worked, the other didn’t. There were lessons learnt. With Thellavarithe Guruvaram, I felt there was an X-factor missing. On a narration level, we were excited with the film but somehow it got lost in translation.
With Bedurulanka 2012, what sealed the deal for you?
The story and the world it is set in, drove me to associate with it. It’s a meaningful point but told in an entertaining fashion with a lot of layers and multiple characters. The true emotions that come out of ourselves when we are about to die is the actual core point of the film and the characters will resemble the inner senses of a human being, Arishadvargas. Comedy and drama go hand in hand in the film.
What impressed you the most about director Clax?
The clarity he had. He was clear from day one in what he wanted to narrate. Whatever he told us, he translated it. Until we saw the final copy, we were both a bit anxious and excited about how the film would be because for this particular story, only if the characters enacted their part rightfully, there would be a value for comedy. In fact, every department had to work in tandem for the story to come alive. The film is more of a dramedy. For the characters its drama and for us, its comedy. Sound, which plays an integral part in the film, is more of a medium to convey fun. Visually as well, the film will stand out despite many films that have come out set in the backdrop of Godavari. As the story unfolds on a small island, we wanted to be authentic with the set up. A lot of pre-production has gone into the detailing. We didn’t shoot it on an island but we had to recreate it. We had to choose our locations scrupulously. We had our limitations because the water body has to be seen throughout the film to give an island feel. But for some places we had to go the extra mile. It was Clax’s clarity that pushed everyone.
How do you pick your projects?
Generally, I’m a fan of dramas. I believe in the X-factor a script possesses. I want to associate with stories or points that haven’t been told before and I’m open to experiments. I want to tell something new instead of the routine and regular stuff. When we did Colour Photo, we were addressing an important issue with colour as there is discrimination around it. In Thellavarithe Guruvaram, the idea was to do a fun and small rom-com. With Bedurulanka 2012, it’s again fun but on a different level altogether. There are other projects in the pipeline. One is set in rural Telangana backdrop and is a take on caste system. More than a hero headlining it, it’s filled with characters. The other is a love story and then a brother’s drama.
Are you driven by your instincts when it comes to picking a script or do you let the script marinate in your head for sometime before green-lighting it?
I’m driven mostly by instincts. Colour Photo was very instinctive. I was sold with the story. So is Bedurulanka 2012. With Thellavarithe Guruvaram, I had to take two-three narrations.
Some producers limit themselves to pumping money into the project, while some involve in the creative side of a film as well. Which category do you belong to?
The latter. If my creative inputs help a project, I’m happy and satisfied. All my three projects have been with debutant directors and it just happened like that. To be honest I don’t have that much money to go to a director I know, give him the advance amount and set up a combination. Nor do I believe in such actions. I want to take a step-by-step approach, associate with tasteful cinema and build a brand rather than making money.
Do you want to stick to introducing more talent?
As I’ve pointed out, it just happened unexpectedly. My next three projects as well are with debutant directors. In between I wanted to work with directors who made a couple of films. The ideas were discussed and the actors too were given narrations. But then they didn’t materialize. Also, I strongly believe that if you make good films, talents will approach you with good scripts.
Are there certain producers who you look up to?
I believe we should get inspired by everyone who is successful. Naga Vamsi is a dear friend of mine. I have known him for the past 20 years. We are childhood buddies. We grew up in the same locality and he is older than me by five years. I look up to him. I’m very happy for him as well. Personally, I also like Allu Aravind garu and Dil Raju garu. They’ve built their empires on the kind of films they made. As producers, you can notice their contributions to a film.
What were the learnings from Bedurulanka 2012?
Every movie so far has been a learning experience. I strongly believe that even if you make 20 films as a producer, there’s a lot to learn. The minute you feel you know everything, especially in this line of work, you will be doomed. You have to be open to everything as everyday it will be a new experience. You shouldn’t repeat the same mistakes again. With Bedurulanka 2012, we shot it completely outdoors as it needed a certain world. So operationally I’ve learned many things. The budget exceeded but economics-wise as well, I’ve understood many things.
How do you handle when the budget goes beyond your initial plan?
If the film shapes out well, it's okay because there will be a certain sense of satisfaction. There will be different reasons for the budget to shoot up; we can’t single out one person. It’s a collective thing. It’s tough and stressful but ultimately we have to work it out; there’s no other way around.
Do you have any specific goals as a producer?
The goal is very simple: to make good films. I want to tell good stories. If people say ‘I’m doing good films and that I have a taste’, it will give me immense pleasure and satisfaction.
Do you harbour direction dreams?
Absolutely not! I clearly know I’m not made for it. I’m passionate about production and I’ve realized how passionate I’m while producing Bedurulanka 2012. In fact, the passion drove me despite the many challenges we were confronted with.
-NAGARAJ GOUD
