'Story-telling is at the core of everything I do.'
J P Thuminad used to paint houses.
But he was always interested in the Arts and honed his artistic skills by writing, directing and acting in Tulu plays in the small towns and villages of coastal Karnataka.
He caught filmmaker-actor Raj B Shetty's attention in the pre-COVID years, and narrated the early contours of a comic story, set in a coastal village with a supernatural twist. Raj asked JP to flesh it out and give him a script.
JP rewrote the script 26 times after getting feedback from friends and colleagues, and the result is the blockbuster Kannada film, Su From So, that is drawing audiences to theatres from Karnataka, Kerala and Andhra Pradesh.
It releases on JioHotstar this week.
Written, acted and directed by JP, the film draws inspiration from real-life incidents in his village.
Made for Rs 5.5 crore (Rs 55 million), it has collected more than Rs 120 crore (Rs 1.2 billion).
JP tells Rediff Senior Contributor Rajul Hegde, "After it released in Mysore and Bangalore, when I saw the orange colour on the BookMyShow app (indicating that the theatre was nearly full), I was relieved. Plus, everybody started praising the film on social media. I did this Kannada film only to go to Bangalore and survive there."
What was the inspiration behind the unique title Su From So?
After meeting Raj (Shetty, producer) sir, my perspective on cinema shifted.
I started writing short films.
He encouraged me to develop one of my own stories.
After he heard the story over the phone for about four hours, he liked the idea and suggested I work on the humour, instead of the dark side.
I came to know about the genre only after I started writing the film.
The title Sulochana From Someshwar was chosen by Raj sir due to the ghost's origin from another village.
It seems you took a while to develop the story.
Developing the script was a unique process for me.
Coming from a theatre background, I'd narrate scenes to my team, and their laughter would indicate if it would work.
It took me around eight months to refine the first script. In total, the project spanned six years, starting 2019.
The journey was impacted by the lockdown; I had more than enough time to rewrite my script.
Finally, it took off after 26 drafts in October 2024.
You play the main lead Ashoka in the film.
Initially, I was hesitant to take on the role, feeling I wasn't perfect for it. I preferred to focus on writing and directing.
I've done supporting roles in plays but watching myself on screen is challenging for me.
But after narrating the story of Su From So and acting out characters, my team, including Raj sir, insisted I play the lead role.
They believed my six-year connection to the character would bring depth and nuance.
Despite efforts to find another actor, I ultimately took up the role, shedding extra pounds that I had gained for a previous project.
The character of Ravianna is adorable. Was he inspired by real life?
Actually, we have someone named Ravianna in our village, and he was like a superhero to me during my childhood.
Everyone loved him, and the name Ravianna sounded perfect when paired with Bhaanu.
Ravianna still lives in our village, and was thrilled when I told him about the film.
When casting for the role, I wanted someone cute to play Ravianna, and I felt Shaneel Gautham was the perfect fit.
Interestingly, I had promised this role to him six years ago.
The main character's name, Ashoka, is inspired by a late friend.
Bhaanu's (Sandhya Arakere) narrative clearly struck a chord with viewers.
Bhaanu's story is a crucial part of the film, and I'm glad it connected with audiences. While writing, I envisioned a film that blends humour and emotion effortlessly.
I have grown up with my sisters and other female cousins and their friends.
I have heard them talking about women's problems.
Bhaanu is closest to my heart, representing the many women I have seen struggle silently.
This theme has been present in my work, including my short film Maa and some plays.
Since you wrote the scenes for 100 people, was it tedious to audition so many people?
We enjoyed the process.
Apart from actors from stage and film, there were non-actors too.
Since there were no professional junior artists in our village, we went door-to-door inviting locals to act.
Some mothers came with their children for auditions. We selected the mothers along with the kids, as we needed more people for the village setup.
The effort paid off when one amazing member, who was 92, walked kilometres daily to reach the set!
Despite being a novice, she delivered a natural performance.
With 60 characters, including 30 key roles, every actor, regardless of role, has an impactful part.
After the success of this film, people have started recognising you. Are you enjoying the attention?
I recall our stage skits where the spotlight shone on the lead actors.
While fans gathered to take photographs with them, we would often feel overlooked.
We'd laugh about it later, poking fun at our supporting roles.
Things have changed now.
Recently, I visited the Raghavendra Swami temple in Mantralayam, which is on the Andhra Pradesh-Karnataka border.
My friend advised me to wear a mask, but I declined, thinking no one would recognise me.
But as we approached the temple, someone called out to me by my character's name, 'Ashok anna'.
I quickly put on the mask and entered the temple, but people still recognised me.
That was a different feeling.
It's striking how times have changed. Earlier, even big stars could move around without being mobbed in Dakshina Kannada and Udupi.
Now, with smartphones, everyone wants a selfie.
You had said earlier that working with Raj B Shetty has changed your approach to film-making. Can you elaborate?
As an artist in Tulu theatre and cinema, I used to approach film-making casually.
Everything changed when I worked together with Raj B Shetty on Ondu Motteya Kathe.
He taught me that film-making isn't about imitation, but about observing life, people, and letting stories unfold naturally.
Su From So draws its energy from the coastal region, thanks to the two theatre teams that formed its foundation.
When I made my first short film in Tulu, I was inexperienced and had a small team.
But I learned that film-making requires hands-on effort.
Raj sir showed me that language is just a medium, and the real magic happens on screen.
Apart from that, he is also a good human being. What I have learnt from this is to treat everyone equally, irrespective of their status.
What was your reaction when you heard your film was doing well?
A lot of critics had come to watch the film.
I was nervous and restless.
If there was no laughter, I would go out of the theatre and my team would update me.
But after it released in Mysore and Bangalore, when I saw the orange colour on the BookMyShow app (indicating that the theatre was nearly full), I was relieved.
Plus, everybody started praising the film on social media.
We got great reviews for the dubbed Malayalam and Telugu versions too.
I did this Kannada film only to go to Bangalore and survive there.
Ajay Devgn is reportedly in talks for a Hindi remake.
Nothing is finalised yet.
I would love to see a remake in another language, provided they get the right essence. Like Laapataa Ladies.
I am new to all this, so I really don't know how it's going to work.
Do you feel a sense of pressure and responsibility now that your debut film has done so well?
Actually, I'm familiar with this pressure from my experience in the drama field.
In Mangalore, where commercial drama is thriving with 70-75 teams, the expectation is high.
I do 100-250 shows per year.
When a play becomes a hit, people approach me with expectations, saying, 'Your play is a hit, you should do more.'
It's a similar feeling with the success of my film.
Tell us about yourself.
Story-telling has always been my passion.
I would weave tales and share them with friends, presenting them as if I had just watched them in a movie.
Though my formal education was cut short, and I pursued a career in painting walls, my love for story-telling endured.
Over the past 14 years, it allowed me to craft compelling scripts for theatre plays.
How did you develop an interest in cinema?
I was mad about the movies.
I've watched Sudeep sir's Kannada film Chandu over 25 times -- sometimes, three times in a day!
He was surprised to hear that when we met.
My passion for drama led me to join a Mahakali bhajan mandali so that I could play a role in our village drama.
Later, I joined the Sharad Arts team, where Prakash Thuminad was working.
Both of us are from the same place and share the same name. Someone added 'Jaya' to my name to avoid confusion -- I'm still not sure who did it (laughs)!
Just like that, I became J P Thuminad.
Prakash and I would often audition together for films and television shows, leaving our photographs and contact details behind.
On our way back, we'd chat about getting new clothes and imagining ourselves on set together.
Prakash would jokingly tell me to hit the gym if I landed a lead role.
When we'd see posters for films we auditioned for, we'd curse the casting team for not calling us back, but we'd still watch the movie and say it wasn't that great.
Despite our efforts, we never seemed to land any roles.
That changed when Raj B Shetty's team member, Rajesh Kolake, saw our drama performance in his village. He recommended us to Raj sir, who was working on a Tulu film project. We met Raj sir, got selected, and the rest, as they say, is history.
Now will you focus on direction?
Story-telling is at the core of everything I do.
While I'm deeply invested in direction and screenwriting, I also enjoy acting in projects that offer meaningful roles.
I am developing a story which I started after shooting for Su And So.
Additionally, I'm committed to nurturing my theatre group, Ranga Bhoomi.
It's all about finding a balance between these creative pursuits.
Photographs curated by Satish Bodas/Rediff
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