Sarath Kumar juggles Mr. X, Daadi Ki Shaadi and politics: ‘If I’m not working, I feel like something is missing’

I still have the passion to work. I was a slow learner and never went to an acting school, although I was involved in theatre during my studying years. I began as a producer and took on small acting roles in my own films while learning the basics of camera work, lenses, and production. Although acting was always my goal, this journey gave me valuable insight. I was able to watch my own performances, identify areas for improvement in dialogue delivery, diction, and overall performance, and work on them.

Earlier, films followed a set format, but that is no longer the case. Adapting to this change and continuing to work with the same passion keeps me motivated. I still feel there is a great deal for me to achieve and learn. With so much content now available across platforms and languages, there is endless scope to observe and grow.

Watching different actors and performances keeps my passion alive. I continue to look for new scripts and formats, whether for theatres or OTT platforms, both of which offer different storytelling opportunities. Audiences have evolved as well. It is no longer about hero worship but about characters and performances.

I think the entire scenario has changed. The lead actor may still be the top-selling artiste with market pull, but that pull no longer lasts for 100 days. Today, it is about the first few days. If a film does not work by then, it drops, regardless of the actor. Earlier, many of my films ran for over 100 days, and success was celebrated much later. Now, success meets happen within days.

With films arriving on OTT platforms within a month, audiences often decide whether something is worth watching in theatres or can wait. So, to bring people to cinemas, actors must offer more than just marketability. They need to create something that connects emotionally and draws the audience in.

There is no fixed formula for success. Stories that feel real and relatable tend to resonate more, especially when presented with a commercial touch. At the same time, filmmaking today is no longer about a single hero. Every character matters, and strong writing and emotional connection are essential. In the end, cinema remains an exaggerated reflection of real life, and even elements like hero worship work best when they feel authentic and grounded.

I find myself drawn to stories that feel more real and different from what I have done so far.In Hollywood, scripts are often developed first, and actors are then chosen to suit the roles. Here, it can sometimes work the other way around, with projects built around marketable names. But ultimately, it all comes down to the writing. It depends on how a director approaches the script, who it is written for, and how deeply an actor can inhabit the character. I believe a strong script should come first, followed by casting the right actors for it.

Well, it has now become a pan-world space. With so much available across platforms, audiences everywhere are accessing films from different industries. Even within my own family, they watch Korean films, which means they are becoming familiar with actors from across the world. Similarly, international audiences are watching Indian cinema, and Indian actors are visible globally.

This shift has created more opportunities for actors who are dedicated and willing to work. Casting is no longer limited to traditional routes, as filmmakers now look at digital content and select actors based on suitability for the role. Overall, this evolution has made the industry more accessible. Pan-India or ‘pan-world’ simply means that anyone with the talent and determination can work across regions and platforms. Language is less of a barrier, as dubbing allows actors to perform beyond their native tongue, though live performances still require strong language skills.

Censorship does have a role. Certain aspects of our culture and the basic structure of the country need to be respected, and there should be clear rules and regulations in place. Producers’ councils across the country should come together to define what may be considered objectionable, discuss differing views, and arrive at a proper consensus.

There needs to be clarity on what kind of content is acceptable, how films are categorised, and when something should go to a revising committee. If such a structured system exists, it would prevent confusion and repeated disputes. Some earlier rules can still apply, such as restrictions on certain titles or subjects, with clear guidelines issued in advance. This would help everyone involved assess potential concerns at the script stage itself.

Filmmaking is already a complex and financially demanding process. When content becomes contentious, it adds further risk. Not everyone can afford that uncertainty, so one has to be careful about the themes and material chosen. As actors too, we have a responsibility in what we portray and say on screen.

Mr. X is based on true events. When director Manu Anand narrated the story, I initially questioned whether such detailed facts could be accurate. However, his extensive research, including a 300-page paper, felt authentic and convinced me to take on the project. Manu is an excellent director to work with, and we had a strong team of co-artistes and it was a pleasure working with everyone involved. I believe the film represents unsung heroes. This has been a three-year journey, and it has resulted in a well-made film on a significant scale. It takes considerable support from producers to back a project of this magnitude, and we are grateful to them for enabling Manu Anand to bring his creative vision to life.

As for Daadi Ki Shaadi, it’s an interesting and emotional film helmed by Ashish R Mohan. I would consider it a significant entry into Hindi cinema for me, even though I have previously worked on Sarfira. The entire crew has been exceptional, and everyone involved has made a meaningful contribution to the project. The film is set to release in May.

I have been exposed to politics from an early age. My father worked in the Press Information Bureau, so discussions at home often involved public communication, government visits, and media coordination. My grandfather was a philanthropist, so the sense of public service has always been part of my upbringing. Moreover, I have seen many politicians in my family. My uncle, KTK Thangamani, was a respected parliamentarian, and even Jawaharlal Nehru ji is said to have looked for him in Parliament. My brother-in-law and another uncle were ministers in the state government. Members of my family took part in agitations and went to jail, which made me question and understand the purpose of their actions from a young age. So, I felt it was a natural path for me.

Social service is an extension of politics. At an individual level, you can help only to a certain extent, but through politics, you can contribute to larger issues such as infrastructure and public welfare and make a meaningful difference.

In many ways, politics is not separate from everyday life. Anyone who votes is already part of the system, making choices in a democracy. I have always believed voting is essential. That is why I have spoken strongly about it in the past, even if some felt my words were harsh. The intention was simply to stress that participation in the democratic process is a responsibility we should take seriously.

See, actors in politics definitely carry a responsibility. Public image and real image are not the same.You must be disciplined, dedicated, and have clear policies that are better than existing options. You can criticise anyone, but that is not enough. The real question is what positive change can you bring? For example, instead of unrealistic ideas, the focus should be on practical improvements such as better roads, improved traffic management, and more efficient systems that serve people. Politics, to me, is about earning public trust through real work and better ideas. People should feel that someone has done something better, or is capable of doing something better, and therefore deserves an opportunity. That belief must come from the people.

Cinema is my profession, while politics is about service. I want to do something meaningful for people, and that is why I am in politics.  If someone has a problem and reaches out, I try to help wherever possible, whether through a phone call or a connection. It does not always have to be financial support; even small help matters.

Recently, a friend from Hyderabad called because his wife was unwell, and I was able to connect him to a hospital for immediate care. On another occasion, during a flight, a passenger suffered an epileptic fit. I ensured the pilot was informed, arranged for an ambulance on landing, and helped expedite medical attention through my contacts. Cinema brought visibility, but even otherwise, I would have come into politics because the intent to help people has always been there.

My mentor has always been my father. I also admired MGR and the way he carried himself. Politically, I was mentored by Kalaignar, a great leader from whom I learnt a great deal, including oratory skills. He would take me to functions and encourage me to speak, even when I was thinking in English but speaking in Tamil.

If I am not working, I feel something is missing. I am either helping my wife in her office, assisting someone with an issue, reading scripts, reading books, or watching films. I constantly observe expressions and moments that could be used in a scene. I watch films regularly and often rewatch the same ones. I am a big fan of Denzel Washington, and I enjoy films like John Wick and Jack Reacher, along with Sylvester Stallone’s work. I also watch emotional films, so it is a wide range.

In terms of feedback, my daughter Varalaxmi will sometimes tell me she is doing a film and share the script, and I simply listen and ask a few questions. It is quite similar to Radikaa. We do not go into detailed script discussions. For Thaai Kelavi, she did have some initial hesitation. I encouraged her, saying it suited her talent and would allow her to explore herself in a different way, and it worked out well.

We do not analyse films endlessly after they are done. If it is good, we acknowledge it and move on. We also support each other during promotions and stand by one another when needed, such as with my daughter Varalaxmi’s directorial work, Saraswati. It is more about support than constant discussion or critique.

It depends on my work schedule. When workload increases, especially with elections and other commitments, sleep gets affected. If I do not get six to seven hours of rest, I avoid the gym because the body needs recovery. Otherwise, I am consistent with workouts. I always feel the pull to go to the gym, and even when I travel, I carry my gym clothes.

The routine has not changed much. I simply know my limits better now. I may reduce running or avoid pushing my heart rate too high, and I stop when I feel I have reached my limit. There are certain things you can do only up to a certain age. I cannot be jumping from 100 feet again for a scene. I follow a regime suited to my body and age, without overexerting myself.  I do not compete with younger people. Even if someone challenges me, I just say, “Sorry, I cannot do it.” I used to do that at one point in time, but now I know I cannot lift what others are lifting, and I am comfortable with that. The basic goal is simply to stay fit.

Diet is also important. I eat in moderation, avoid excess sugar, and rarely have chocolates or cakes. If I overeat one day, I naturally balance it over the next couple of days. My approach is simple-stay disciplined, stay aware, and maintain balance without extremes. My mind is always alert. I do not abuse my patterns.

This will be repetitive, but when you are pursuing a certain career or ambition in life, you should not get distracted. Surya Vamsam (1996) was one of the biggest hits of my career, and then I entered politics. At that time, I never really thought about the consequences or whether I would be able to return to films in the same way. I simply took the decision and moved forward. I never sat down and analysed the pros and cons or possible setbacks. That was never how I approached life.

There is a saying that a bird in hand is worth two in the bush. If you aim for a goal, like climbing Everest, you should stay focused on it. Even if you do not reach Everest, reaching Kanchanjunga is still a meaningful achievement. Looking back, if I could rewrite that phase of my life after Surya Vamsam, I might have told myself to stay on that path and see how far I could go.

I am a tough guy, and I cannot be broken easily

For me, everything starts with health. With good physical and mental health, you will have clarity, strength, and balance.

Technology, competitiveness, content, innovative thinking, and new ideas! I think the entertainment industry is on the right track.

Por Thozhil, Arasu, and even Suryavamsam. The concern is how to develop it without leaning too heavily into a rural setting and also without the pressure of it being seen purely as a big hit film. I feel there is scope in Pachaikili Muthucharam as well.

Periya Pazhuvettaraiyar would obviously be more powerful. Nattamai is rooted in the village. Both of them might eventually find a balance, understanding each other and working towards the welfare of the village

The leader can be Chinnarasu from Suryavamsam. Even Ayyadurai from Ayya could lead the way.