How did your journey into filmmaking begin?
Director Sreekanth: Around ten years ago, I worked as an assistant director for the experimental film Minugurulu, which won a Nandi Award. Its script was also archived in the Oscar Library. After that, I worked for more than a decade in a corporate company. During that period, I made small demo films, songs and short films.
I did not formally study filmmaking, shot division or colour palettes. I learned mostly by watching films and interviews. Whenever I watched a film that did not work for me, I would think about why poor writing was getting opportunities while I was still waiting for one. That frustration stayed with me and pushed me towards cinema.
Did you always believe you would become a filmmaker?
Director Sreekanth: Yes, I always believed my stories were special. I wanted to see them on the big screen. My dream was that after watching my film, people should ask, “Who made this?” Even while working ten hours a day in an office, my mind was always filled with cinema. I was never interested in promotions or career growth in my corporate job because I did not enjoy that work. I was not good at mathematics, software or even Excel. But I was good at dreaming, and that dream kept me going.
What were the struggles you faced before getting Deewana made?
Director Sreekanth: In December 2019, I came up with an idea for an investigative drama. Balancing a job and cinema was very difficult. At one point, I even quit my job for cinema, which created difficulties for my family. Later, I realized that leaving a job without a proper plan was not practical. During the COVID period, I had to quit my job due to my father’s illness. After that, I started developing stories that could work for OTT platforms and continued looking for opportunities.
How was the story of Deewana born?
Director Sreekanth: The idea for Deewana came after watching a television anchor on Gemini TV. After completing my MBA, I stopped focusing on jobs and turned my attention fully towards cinema. One morning, while watching television, I saw an anchor and wondered what would happen if I went and met her. I started thinking about what situations could arise if a complete stranger approached her. That thought became the seed for Deewana. I felt the idea had both emotional depth and commercial appeal, so I began developing it seriously.
What was your writing process for Deewana?
Director Sreekanth: Whenever I got an idea, I would immediately write it down because I was afraid of forgetting it. If I did not have paper, I would even write on a matchbox cover. Once I had the basic story, I would sit at my computer and spend months developing the characters. Usually, this process took six to seven months. I wrote nearly ten drafts of Deewana. In fact, the first draft was written almost twelve years ago. Since I did not have access to big producers at that time, I narrated the story to smaller producers. They gave suggestions, and I kept improving the script. Every narration helped me make the story better. After nearly two years of revisions, the script reached its final form.
Is Deewana inspired by any previous works?
Director Sreekanth: Stories with similar premises can be found in the works of Rabindranath Tagore and Anton Chekhov. Doordarshan’s Katha Sagar also had many wonderful stories. However, Deewana is completely different in its treatment. No one would immediately imagine that this kind of story could become a large-scale commercial film. But I believed it could because the strongest commercial element in Deewana is emotion. The emotional content is very strong, and the entertainment is built around that emotion.
What kind of love story does Deewana tell?
Director Sreekanth: Deewana is about one-sided love. In the first half, the hero openly pursues the heroine in an extroverted way. In the second half, the one-sided love continues, but the emotional journey takes a different direction. It may feel like a love story from the 1990s in some ways, but I made it exactly the way I imagined it. The film is for everyone. Audiences who enjoy love, family emotions and friendship will connect with it.
How did you get the opportunity to narrate the story to Allu Aravind?
Director Sreekanth: I spent years searching for opportunities with my friends. Eventually, many of them moved on, and I was left alone. One day, a shoot was happening at Ramanaidu Studios, where Allu Aravind garu and Satyanand garu were present. I gathered the courage to approach them and said that I wanted to narrate a story. They were surprised. I was told that if the story was good, it would become a film, and if it was not good, even the tea or coffee offered during the meeting would be wasted. When I first went to the office, I was not even allowed inside. I did not know whether Aravind sir was there or not. After nearly twenty years of struggle, I finally got the opportunity to sit and have coffee with him. I narrated Deewana, and he liked it. Thankfully, that coffee was not wasted.
How challenging was the shooting process?
Director Sreekanth: Deewana has six songs and three action sequences. I told the team that whatever budget they gave me, I would make it work. I had even shot a demo for just ₹5,000. Initially, I estimated that the film would need 69 shooting days. But I was asked to complete it in 30 days. My friends and I wondered how that would be possible. Eventually, we started shooting. Even after 42 days, some portions were still left to be filmed. It was difficult to leave out certain material, but because of the strong writing and talented actors, we were able to complete the film effectively.
How did Harshith Reddy become part of the project?
Director Sreekanth: One producer initially suggested making the film on a budget of one crore rupees. Harshith Reddy was known to him, but at that stage, the project was not finalized. My friend, director Uday, helped connect us. Later, Harshith listened to the story and came on board. He has done very well in the film. Deewana will appeal to all sections of audiences because it has love, friendship, family emotions and entertainment.
What kind of audience response are you expecting?
Director Sreekanth: More than just thinking about the film’s release, I keep checking whether people are reacting to it. Even if they criticize the film, I am happy because that means they are responding to it. What frustrates me are fake comments. I value genuine audience reactions, whether they are positive or negative.
What is your view on talent in the film industry?
Director Sreekanth: The film industry is a fascinating place. Many music directors and writers are sometimes more talented than directors. If we think we are talented, there will always be people who are far more gifted. People like Tarun Bhascker and Trivikram are examples. Music director Eswar and I used to watch films together. He taught himself music, and I would regularly narrate my stories to him. When Allu Aravind sir approved Deewana, I told Eswar about it. He appreciated the writing.
How did music director Eswar contribute to Deewana?
Director Sreekanth: Initially, when I asked Eswar to compose music for the demo, the result was disappointing, and I scolded him. He went back, reworked it and returned with something extraordinary. Even Aravind sir’s team liked it. People often do not know whether something is copied or inspired, but for a low-budget demo, only a true friend will stand by you. Later, when we began composing the film’s songs, Eswar delivered music that was approved and appreciated.
What are your future plans as a filmmaker?
Director Sreekanth: I have several stories that are far more ambitious than what I have made so far. Some of them are technically demanding and futuristic in nature. As a filmmaker, I need to continue making films and improving my skills. Only then will I be able to bring those stories to the screen the way they deserve.
