Eating street food in Bangkok is an experience.
It was cinematographer George C. Williams who first told me about 'Sakhavu.' He said that the script was good and asked me to listen to it. Later, Sidhartha Siva called me and narrated the script over the phone.
I come from a lower-middle-class family and used to stay in a housing board colony.
I did my schooling at Holy Angels, where they had stringent rules. I coloured my hair blond and red and was pulled up by the principal.
I had to do a lot of preparation for 'Kaaka Muttai.' I had to literally spend every night and morning in the slums, observing the life of people there, and work on my diction.
I prefer doing strong roles irrespective of duration, and it is almost impossible for me to take up a role that has nothing much to contribute to the script.
Directors approach me for doing 'strong' women characters which, as an actor, increases a sense of responsibility to give my 100 per cent and even more for the faith they entrust on me.
The method in which 'Vadachennai' is narrated gives a feeling as if you are travelling with the characters to the different eras where the various situations happen.
In 'Aarathu Sinam', I play a wife and mother. It's a very homely character, quite contrary to what I've done so far.
I firmly believe the industry does not let down performers.
My mother tongue is Telugu. I was born and brought up in Tamil Nadu.
I was not wary of playing a mother on screen but wasn't sure if I could do justice to it. Would I be able to showcase that kind of overpowering love without being a 'real' mother?
When I travel in Tamil Nadu for shooting, I make it a point to eat at roadside eateries and drink tea/coffee at a tea stall.
In Chennai, we have the beach for entertainment, but in places like Trichy, Salem, and Coimbatore, movies are the only entertainment.
