The prospective filmmaker worked as an AD in ‘Venky Mama’ and as a writer in ‘Waltair Veerayya’.
If you are an aspiring filmmaker, you don’t need to do multiple films to learn how things operate in the industry. Vineeth Potluri worked as an assistant director in Venkatesh’s Venky Mama (2019) and as a writer in Chiranjeevi’s Waltair Veerayya (2023).
In a tete-a-tete with South First, the prospective filmmaker gives an insight into what assistant directors do on the film sets and what essentially are the prerequisites for becoming one.
About his entry into cinema, Vineeth Potluri said: “I never went to a film school. I would keep reading and studying cinema in my free time and follow interviews. I’m a film buff… That was the time when short filmmakers were beginning to make mainstream cinema.”
He assisted director Bobby Kolli in Waltair Veerayya to watch how a movie germinates and grows before hitting the big screens. “I intended to get hands-on experience. I wanted to see the dynamics of how the 24 Crafts operate and how the producers execute the work in close quarters.”
So, what’s the job of an assistant director on the sets? “The assistant directors ensure that the shoot happens smoothly. Keeping their creative side aside, they handle casting and auditions. Filmmaking is like conducting a wedding for 150 days and being an assistant director helps us learn the art,” he informed.
There will be a lot of camaraderie and communication between assistant directors. Assistant cameramen, assistant editors, and art assistants usually communicate with their respective heads swiftly who, in turn, alert the ADs.
The ADs should be able to work under pressure and also re-work the grey areas pointed out by the protagonists.
“When several crores of rupees are riding on a hero, he closely follows the writing process. For instance, in Waltair Veerayya, Chiranjeevi politely pointed out certain areas which needed to be re-written. In such cases, the director discusses with his writers and tries to convince the protagonist or gets convinced on his part.”
Vineeth said the ADs will benefit when they look into post-production and marketing/promotions, too.
“Earlier, moving images used to amaze us. But now, they’re a thing of the past. Similarly, people are not interested in theatres any more, thanks to the variety of content available in the OTT space. This is why marketing/promotions play a key role in bringing them back to the cinema halls.”
Vineeth says he oversees poster designing and other promotional aspects out of interest. Surprisingly, many directors believe that filmmaking is their only job and not promotions.
“The hashtag we created for the “Poonakalu Loading” tweets in Waltair Veerayya created wonders on social media and the song reached out to the masses,” he shared one of his experiences.
The ADs should also keep an eye on Computer-Generated Imagery (CGI). The directors usually don’t get easily impressed with the VFX supervisors and the CGI rushes need to be changed accordingly.
There is hardly any time for corrections when the release date of a movie is fixed. “But the truth is that the final output you see is made after many corrections,” he added.
So, how does an AD become a co-director? “A person might be a co-director for a small film. If it becomes a hit, he can approach another big director and work in that position as long as he wants,” Vineeth Potluri explained.
But a few debutant directors do claim that they couldn’t focus on creatives and had to deal with HR mostly.
“This happens with those who haven’t worked as ADs and are making their debut as directors. A director should be aware of the business, too, to accommodate his vision. They are expected to wear many hats,”
A director initially focuses on writing (story or dialogues). But, once the project goes on the floors, s/he needs to do cost-cutting and people management as well, Vineeth Potluri asserted before signing off.