Yes. When I thought of a story with theyyam as the backdrop, Othello came to my mind because of the schism in his mind. In theyyam also, you see a split personality. That is, when the artiste dons the makeup, he is considered as god. Everybody including his own parents come and talk to him as if he is god. They pray to him for the fulfilment of their desires. When he removes the makeup, he becomes a man once again. I saw in theyyam the best opportunity to express a split personality.

I saw the same dichotomy in Othello's mind also. He loves Desdemona so dearly but at the same time wants to kill her too. When such a man becomes a theyyam, I could make him express both the emotions very clearly.

When he kills Desdmona, he was half dressed as a theyyam (only his face was painted). I wanted it to happen at that moment because he was half man and half god then.

How do you describe the Iago in Kaliyattam?

I have always felt that Iago is the most powerful character in the drama. I call Othello as Iago's play and not Othello's because he is the scheming, jealous man who manipulates Othello.

Though Othello is a man who is successful in battles, he turned out to be just a pawn in Iago's hands. In my film, Perumalayan is considered as one of the greatest theyyam performers and it was his theyyams that attracted Thamara to him.

There are around 400 Theyyams and there are as many stories behind them. The expressions and colours of each theyyam are different. Perumalyaan is a theechamundi -- who walks on embers. A theyyam artist doing theechamundi is supposed to be a very daring man, and this man's performance as theechamundi was admired by all the villagers, including Thamara.

This is where I compare him to the black Moor. Like on the warfront, Perumalayan performs as theechamundi , which is equivalent to and as daring as war itself.

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