There are movie sets, and then there are Trivikram Srinivas garu’s movie sets.
To be an Associate Director on films like Julayi, S/o Satyamurthy, and A Aa wasn’t just a job; it was an intense, exhilarating film school where the tuition was paid in long hours and total dedication. It was a privilege to be one of the unseen hands helping translate the “Wizard of Words’” vision into massive, cinematic reality.
The Julayi Vibe: Action, Energy, and Pace
Julayi was a landmark film—a perfect blend of high-energy action, witty dialogue, and great performances. Working on that film was an exercise in pace.
My key role was ensuring that the logistical gears turned flawlessly to match the fast-paced, high-octane narrative. From coordinating the intricate chase sequences to managing the complex crowd scenes, every day demanded precision. On a Trivikram set, every moment of screen time has a purpose, and my job was to make sure that the technical aspects didn’t slow down the flow of his brilliant screenplay.
The Family Canvas: S/o Satyamurthy
Moving to S/o Satyamurthy felt like moving to a different world. This film was a deeper dive into morality, family values, and the meaning of ‘dharma.’ Here, the focus shifted from pure pace to nuance and emotional depth.
As an associate, I was deeply involved in the pre-production and set design, ensuring the environment—the homes, the sprawling backdrops—supported the film’s rich, cultural aesthetic. Trivikram garu has a rare ability to infuse profound lessons into commercial cinema. Being there to assist in blocking and framing scenes that carried such weighty philosophical subtext was incredibly rewarding. It taught me that a big-budget film could still have a huge heart.
The Charm Offensive: A Aa (Anasuya Ramalingam vs. Anand Vihari)
A Aa presented a completely different challenge: mastering the art of the romantic comedy. This film was a feast of subtle emotions, incredible chemistry, and some of the most memorable character-driven dialogue.
The set environment for A Aa was often more intimate, focusing on performance. My role evolved into helping the actors find their marks, managing the continuity of their costumes and props, and ensuring the close-up shots captured the exact emotional beat Trivikram garu was looking for. It was here I truly learned the power of the look, the pause, and the perfect reaction shot in cinema.
Lessons That Last
Across these three blockbusters, my takeaway is singular:
- Preparation is Power: Trivikram garu’s set runs smoothly because the homework is done. There are no last-minute rewrites; the script is gospel, and everyone knows their part.
- Respect for Dialogue: His words are precious. You learn to protect the integrity of the dialogue delivery at all costs.
- The Audience Always Wins: Ultimately, every decision, from the choice of lens to the music cue, is aimed at giving the audience a holistic, unforgettable experience.
These films are now part of cinema history, and I will forever cherish the opportunity I had to be an Associate Director, standing right next to the “Wizard of Words,” absorbing the mastery and contributing my energy to the blueprint of a blockbuster. It was, without a doubt, the greatest education a filmmaker could ask for.
