'The entire team of Jigarthanda deserves the National Award'

'Jigarthanda was a team effort, hence the stunning result.'

 33-year-old Vivek Harshan bagged the National Award for Best Editor for Jigarthanda.

Director Karthick Subbaraj's critically acclaimed Jigarthanda won two National Awards this year. 

Bobby Simha's brilliant performance as an aging eccentric gangster won him the Best Supporting actor award, while Vivek Harshan bagged the award for Best Editor. 

Vivek is well known for his work in Tamil and Malayalam cinema. Films he has edited include Oru Kal Oru Kannadi, Boss Engira Bhaskaran, Maryan, 22 Female Kottayam. 

This 33-year-old commerce graduate, who made his debut with the Malayalam film Big B in 2007, is ecstatic that his work as an editor has been appreciated, but claims Jigarthanda is a team effort.

What set this film apart? Did you think you would win the National Award?

The unusual script and powerful performances were the movie's biggest strengths. 

The team put in a lot of effort; everyone deserves credit for this victory.

I am really thankful to my director Karthick, who gave me this opportunity.

 I also have to thank Bobby Simha, Siddharth, Karunakaran and the whole unit. 

Jigarthanda was a team effort, hence the stunning result.

What was the biggest challenge?

 Jigarthanda has a very different script. With some really powerful performances, I got a lot of good footages to edit. 

The film has a little bit of everything - humour, romance, action, suspense, sentiments, ego, revenge and great music. 

Most movies usually travel in one dimension, so it is easy.  To keep up this diverse range of emotions with the right pace was the most challenging.

Were you asked to give equal footage to Siddharth and Bobby Simha?

Bobby Simha was the root character of the film. The film revolved around him.  So it was natural that he be given equal footage. 

The two characters meet only during the interval. The entire first half of the film was shot from Siddharth's perspective. 

But since he is observing the antics of Bobby Simha at that time, their characters travel almost parallel throughout the film.

Do directors let you have a free hand?

Fortunately for me, most of the directors I have worked with are also very good friends. 

I’ve worked with Rajesh in three films - Siva Manasula Sakthi, Boss Engira Bhaskaran and Oru Kal Oru Kannadi. 

Karthick Subbaraj and I also share a good rapport.  I am very comfortable will all my Malayalam directors as well. 

Nobody interferes with my work.

We usually sit together for a while to discuss the director's vision. He explains what he needs, what is relevant to the film.  It is usually a very healthy discussion. 

How much time does it take to edit a film?

These days, we sometimes begin editing simultaneously along with the shoot. 

By the time they are through with the film, we are ready with the first half.  This makes the work relatively faster. 

But sometimes we work under very tight deadlines, especially in Malayalam films. The Tamil industry is more relaxed. 

Do they also specify the running time of the film?

We don't work with a particular running time.

I believe that if the movie is interesting then people will watch, irrespective of the length. 

We just need to keep it moving at a brisk pace, with plenty of engaging moments.  If nothing is happening for an extended period of time, then the audience begins to get restless.

Some movies, though, require a slow, deliberate pace.  We decide on the pace and length according to each individual script. 

Is there a difference in editing films in different languages?  Do you need to understand the preference of the target audience?

Emotions are the same in all languages, so basically I don't find any big difference. 

Jigarthanda was well received even by the Malayalam audience. 

Language does not put any restrictions on editing.

Which contemporary editor inspires you?

I was the assistant of editor Anthony (Sivaji: The Boss, Vaaranam Aayiram, Vinnaithaandi Varuvaayaa).

I worked with him for almost two-and-a-half years.  He is my guru; he taught me everything I know. 

How did you get into editing?

I developed an interest in editing during my college days. Some of my friends encouraged me and I moved to Chennai. 

I did a short-term course and then joined Anthony. 

My first film as an independent editor was the Malayalam film Big B in 2007.