'Aa Okkati Adakku', starring Allari Naresh in the lead, is scheduled to hit the cinemas on May 3. In this interview, dialogue writer Abburi Ravi says that the comedy entertainer has a sense of purpose while not being preachy. He also throws light on his convictions as a writer, why he respects producer Rajiv Chilaka, writing for a Naresh movie, and more.
There was a time when people would get married before they turned 25. The idea was to be strong and able-bodied until their children reached the age of employment. Nowadays, this norm has gone to the winds. If you get married at the age of 35, you will be too weak by the time your son starts earning. In this context, vested interests that feel happy about delayed marriages have come up. Matrimony sites have a subscription fee and the validity period is three months. If you get married before your subscription expires, the site will be at a loss. The site doesn't want you to find a suitable match. Recently, a male person died by suicide because he didn't get married. A serious subject has been dealt with in a lighter vein in 'Aa Okkati Adakku'. We all have problems, which we are supposed to face with a smile. Where the film is supposed to become serious, it becomes serious in tone.
You shouldn't get married to someone based on assumptions. These days, there are instances where 'pelli choopulu' are being held in restaurants/cafes. Is this how it should happen? If the two families meet at the girl's residence, they will get to know about each other's socio-economic realities more accurately. Marriage is a sacred institution. Decisions have been made based on photos received on WhatsApp.
I am against forced comedy. I am incapable of writing such comedy. In 'AOA', the comedy is situational and purposive. Every track has a purpose in the movie. If the situation is not ripe, the humour won't work out. Sometimes, the writer imagines a certain atmosphere and a certain artist while writing a comedy scene. But, in reality, some other artist might do the scene. If the writer has a full-on idea about who is going to play what, the writing process will become more rounded.
I have previously worked on Naresh's 'Ugram' and 'Itlu Maredumilli Prajaneekam'. He is an actor who can do anything. Just that we identify him with his comedy timing. If a director can tap into his talent, there is a lot to explore in him.
In my entire career, most of the time, I have worked exclusively on a single film at a time. In a couple of years, I accepted multiple projects. When 'AOA' came my way, I was not readily willing to listen to the script from director Mallik Ram even though I have known him through Sai Kiran Adivi (of 'Kerintha' fame). I don't accept movies just like that or for money. Had I been a writer for the sake of money, my brand image wouldn't have existed today. I have been a dialogue writer for more than two decades. My image has remained intact.
Why does a director need a writer? A director is good at visualizing something. However, he may not be in a position to write dialogues on paper. You need to be structured with your dialogues.
Producer Rajiv Chilaka employs 500 people at his animation studios in different countries. When he came down to my place to meet up with me, I was astonished. I told him his time is precious because he employs hundreds of people. My writing is a time-consuming process. He was okay with my condition that I must be allowed to work at my own pace.
I played a terrorist leader in 'Operation Gold Fish'. While people say that they liked my performance in it, acting is not my cup of tea. I did that movie because I like its director, Sai Kiran.
I am currently associated with 'Goodachari 2' and 'Dacoit' as a writer. Both of them are fronted by Adivi Sesh.
